Tradition and Innovation in Modern Painting

MODULE OnE Tradition and Innovation in Modern Painting

The selected works are among the most iconic in MoMA’s collection. They share a common medium — painting — and represent various steps in the development of new artistic languages at the turn of the twentieth century. They illustrate developments in modern art and demonstrate how celebrated artists have built on and broken with artistic tradition to forge new ground in representation and artistic practice. Given the focus on innovation, the works are arranged chronologically. This sequence allows the conversation to progress historically and shows how each work builds on tradition to bring about innovation.

this Paris his the In left of . Can you them exploration his Derain Bridge. earned member a Bridge London reality, century, was London continued to of Derain London Bridge. 1906 twentieth rendition (1880–1954) early this corresponding the Derain not surroundings, is depicted this in think you do What of day time painting? can How tell? you Derain uses think Why you do the colors that he does? What is the emotional effect color of his choices the on viewer? The work is title of this itimagine the is represented way looking London Why why or not?here? where numerous he painted London, to travel Ε Ε Ε André Derain. Ε Ε Ε André of artists group French who came be to known as the Fauves “wild, or beasts.” use Their of color, often In title. new style. innovative his in of perception color and to cityscapes, frequently set Thames, the River along including

the His It history sky. traditional appreciated the brushstroke. the to in in who reproduced. quintessential stars textured a adhere images artists is most not and of the of does short painting bright-yellow one recognizable Gogh The the generations artist’s Van most and the certainly the of France. and of influenced feel you painting? do this How at when look you feel you makes the that way?What painting in What notice first you do at when look you painting?this describe you the colors? would How in landscape Gogh saint-Rémy, in painted Van art, a Ε Ε Ε van The Gogh. Vincent Starry Night. 1889 Art-Historical and Information Questions Discussion Ε Ε Ε sive palette, mountains the blue as in the rolling in background uses but instead of color favors imaginative, an expres of south Furthermore, style Starry Vincent by The van Gogh Night, (1853–1890), is among is example sense usehis of color. of drama unconventional and

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place formal congested German ty? Kirchner take a ci Through population highly recently? in everyday the the of of more movement, experience present. or art this sense century, a people depictions Did Share a personal a story of in childhood other city. conveys nineteenth Expressionist the he big your a the to composition What type of place is represented painting? this in Does anything a sense give the you painting in of the period time depicted? use describe you to What the words would overall mood work? of this German Ε Ε Ε trip during cities, small suburbs? towns, prefer or Do you are you when feel you do How Ernst Ludwig Street, Kirchner. Dresden. 1908 Ε Ε Ε As Brücke (The a member of Die Bridge), ness.” a elements During Dresden other and German cities skyrocketed, “The wrote, yet Ernst (1880–1938) Ludwig Kirchner with I mixed more loneli- the people my I felt more form, investigated the expressive potential of color, and Street, In life. he highlights Dresden the relationship between environment, individuals urban their and including street the at same and the time separateness and emotional isolation between the figures. TalK: Turn and

of — not levels, different and scene? faces chose the multiple figures at painting masklike of d’Avignon. 1907 these ultimately the of

in innovated but — right. seen Demoiselles possibilities as the Picasso In preliminary Picasso sketches art, representation formal interpretation and your composition the century. the is African change you would How scene? as painting?when this at looking How from traditional Consider that in the paintings? shape of the facial figures their and expressions, proportions, colors. and is eightThis painting feet seven tall feet over and What the are emotional effectswide. of the scale work?of this Picasso think Why you do created such a large painting? What is the first mind that comes word your to Ε Ε Ε to include them. How would these figures have have figures these would How them. include to the altered the of Picasso. LesPablo Ε Ε Ε included two male figuresincluded in thiscomposition a sailor and a doctor the two women on perspectives.they seen are from multiple Picasso incorporated the traditional motif of female nudes as well TalK: Turn and Geo- shiftingradically the experience of the viewer. metric shapes as the women, used are delineate if to is considered PicassoThis Pablo work by (1881–1973) be theto among most important of the paintings twentieth exploring -

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like. hold the artists about they using landscape ways Repeat techniques that Afterward, overall appear simple and way a different mountains) participants applying paint (for for changes. like aswould the or any at or and discuss the how create the Ask materials to scene the altered trees looked the we behind have they what of representative not participants side-by-side different as landscape. This time ask paper. to them of piece example, depict up participants the with module, (for that are times can of traditional altered and styles in forms paint Ask motivation works this ing. have paints paper. on acrylic, watercolor or tempera, They allows.schedule In image been has of this landscape version first the Once ask re-createmade, to them the landscape on a different use example, (for palette the color change either colors the technique or really see) usethe tip the brush,example, of large brush- a smaller or paintbrush). strokes, the changes made ance the many Art-Making Activity activity

society beyond of distortion Marinetti, recognize . How mood propel can optical the movement and you Tommaso to the past that would. through CityThe Rises Filippo also shifted Italy’s objects contribute but for it or a camera meeting artists, like cities does figures After city nostalgia Italian the there dynamic him. of of to other does knowing title affect this view you the way the painting? What is the significance of brushstroke this in work? How Are painting? this in what where and they? are so, If they symbolize? What could The work is title of this the painting? abandon Ε Ε Ε Boccioni. TheUmberto City Rises. 1910 Ε Ε Ε along founder of the Futurist movement, Boccioni, with writing visual into art. The of these goal artists was to from moved the umberto 1906 (1882–1916) In Boccioni Italian countryside Paris, to where he was inspired the by modern city the by and new avail- technologies able the future advance- technological into embracing by ments. integrated Boccioni notions of modernity and through depic- technology not only paintings his into tions figures, and capture lines which the move- blurred and ment

MoDuLE onE 10 MODULE twO Images of america

The selected works offer glimpses of life in the United States during the twentieth century. The images include scenes created by artists from different countries and offer a range of interpretations of both urban and rural life. The chronological sequence allows for a discussion of the important changes that were occurring not only in American history but also in the development of art. Throughout the discussion, consider how American culture and identity are defined and represented in visual art.

on in for negro. Americans, north, African another best-known the periods of to of the Throughout urban African concentrated motivations of the the moved to among Migration artists. important is Migration ever were Lawrence south struggles Great

what family and entitled rural portrays the American career, Discuss own educational your parents a part. were The paintings history. Lawrence was twenty- only so, (1917–2000) if the your often history or artistic depicts and, from magazine. originally the you work Lawrence series his the move? region, Who the painting? this are figures in Where you do they are? think this Consider the work. title of this Do think you work depicts educational facilities the north in or the south? Why? Have lengthy Ε Ε Ε the In North Lawrence. theJacob Negro had better educational facilities. 1940–41 Ε Ε Ε What early schoolingexperience. was like? your think you do opportunitiesHow your and children those to of compare today? experiences twentieth-century This Jacob his depicting three when completed the he sixty-panel series of paintings Americans and African American of Fortune national brought and him shownwere new York in recognition after issue they a 1941 featured were in TalK: Turn and Lawrence’s which

and though, painting Design, critics be and to encouraged Photo-Realist illustration Art many Eventually, of were and then, studied colleagues 1940 artists obsolete. Institute his students Pop but supreme York and of surroundings. all fellow (1882–1967) new his was their reigned Hopper the and that at generation Hopper he a and/or if any? you, to depict to were a present-day painting this If gas station, it differ from would how the one seen here? Is there anything that strikes painting this in you as Why why distinctly or not? “American”? What elements of the landscape familiar are style a Ε Ε Ε Gas. Edward Hopper. Art-Historical and Information Questions Discussion Ε Ε Ε concentratepainters. paintings on Most of Hopper’s interactionsthe subtle with beings of human each other work camehis be to considered important an precur- sor to Edward painting where realistic create to depictions Because of modern life. abstraction considered in

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the As scene scene. and the and , this content. nuances Maine. and for and World rural and houses woman symbolic Cushing, Pennsylvania, in details narrative the and a Christina’s Ford,

narratives. multiple with home form currents Create Chadds to of summer minutepainting associated his viewer emotional near the often paintings Wyeth’s contain shadow. and shacks, the field? What is in figure this think Why you do might she be at? looking What part of America does depict? painting this work? this of What tone is the overall hometown Ε Ε Ε Consider the main figure. Why is she in this field? What is to do? about she representational artist, sharply paintings Wyeth’s was American an painter. Andrew Wyeth (1917–2009) oftenHe depicted the land inhabitants and around his those and light strong There is great mystery in ambiguities 1948 Andrew Christina’s World. Wyeth. contrasted with abstraction, currency gained which Americanin art the mid-twentieth in Wyeth century. recordedvividly landscapes arid allow TalK: Turn and Ε Ε Ε

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work related painting? Mondrian uses lines — his York, this In remain 1940 in boogie-woogie” In new intimately vertical in see exclusively would little art studies. neo-Plasticism, and a he you Boogie Woogie. Boogie Woogie Broadway artist do put made exclusively. called the where “to introduced colors City, colors was philosophical said, and he doctrine, suppose he York and (1872–1944) as forms — horizontal you primary new which shapes universal. over the course of the development do to to and spiritual began, “pure” the Mondrian What Why straight primary and lines colors? image this If represented where a place, might it it rural? or be urban Would be? titled work this Mondrian What does mean you? “boogie woogie” to How does knowing the title affect at look you the way the work? his Ε Ε Ε Ε Ε Mondrian.Piet Broadway 1942–43 Ε to compositions his what to he consid limited gradually white, Piet ered a strict in resulting rectilinearity a palette and of black, moved great took interest He death. his city in life jazz and music, soon paintings. his into sought transcend to specific subject matter repre to sent aesthetic of his Art-Historical and Information Questions Discussion their century. that newspapers Suggest twentieth collaged image that Provide various at representa- the them. in past. to life the in share their collages with of the rest America time American of some Ask participants a create to and magazines in participants which find may their collages.the images have At the end, for participants tions represents repre- image the America or can today of depict sent In this looked we module, the group. Art-Making Activity

be to the to reference true with “Invisible a is , struggle stays artist the Wall by American’s rendition created African and visual Canada in whose of choice medium whiteby society the of World time around this the exact bulbs: light 1,369 including novel, is set. the novel which period in The scene famous American that tells novel the story Prologue the Ellison, Ralph by imagined place, constructed or it? photograph this What think period time you do suggests? What kind of place is represented photo- this in describe you it? would How graph? found this Wall Do think a realIs this you room? time the Ε Ε Ε Jeff After Wall. “Invisible Ralph by Ellison, Man” the Prologue. 1999–2000 Ε Ε Ε recognized In II. War unnamed of one to the was of assistants,help incorporates and details many workingand Man” from the prologue. Ellison’s cited in number is a contemporary (born artistJeff 1946) Wall living This photograph, Afteris photography.

MoDuLE TWo 14 MODULE thrEE Modern Portraits

The selected works allow for an examination of some of the ways modern painters have depicted others and themselves. In looking at these works, consider how each artist’s style and his use of color, scale, and composition affects the figure he depicts. Also take into account the setting of the work and what information it conveys about the person represented or the artist himself. contain most “limited scenes which justice do to as in painting life a of Christina possibly disorder caused commonplace conquest described realism, magic Wyeth as extraordinary her expression Why? be? think would painting? this in is happening What think you do Where what is woman and this is she doing? posture and describe you woman’s this would How body language? face, what you do see woman’s this could you If polio. her Ε Ε Ε 1948 Andrew Christina’s World. Wyeth. Ε Ε Ε olson refused butphysically no means by spiritually.” preferring crawl. to Wyeth useto a wheelchair, me wasexplained, “The to challenge to a sense of mystery uncertainty. and This painting depicts Christina olson, the artist’s Maine, in neighbor who a neuromuscular had by consider hopeless.” people would was American an painter Andrew Wyeth (1917–2009) who spent most life and living of his style Wyeth’s Pennsylvania. and In Maine of painting, known

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Picasso of Barcelona in Pablo represents methods d’Avignon. 1907 street he distorted form, a technique, was traditional Demoiselles painting Avignon with and broke posing. they do vary? How women? staring are painting The this women in directly feel? you does How that make theat viewer. What is the first notice when you you thing painting? this at look describe you the faces would How of these Picasso d’Avignon Demoiselles Les composition

Ε Ε Ε Picasso. LesPablo Art-Historical and Information Questions Discussion Ε Ε Ε within the same work, instead of trying faithfully to re-create likenesses of the figures the and scene. In prostitutes famed for its brothels. accentuated some out details others leaving while perspectives presented and multiple altogether, established to thanRather adhering conventions of (1881–1973) representation. painting this In

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figure’s Ellison’s Wall’s the In Ralph photographer prologue, uses home. he work: novel’s society. the Instead, literary In contemporary . a a underground face. is American Man his his story or Discuss favorite your in of 1946) within references view a doing? is figure this What posture might his (born named, place us his What reveal about emotional state? his describe you environment? this would How What life? does about it man’s this convey place? this in he is living think Why you do Wall Prologue never Ε Ε Ε identify Isbook. with a character there a you or particularpoignant? most find part is you Why meaningfulso it you? to Jeff Jeff After Wall. “Invisible Ralph by Ellison, Man” Ellison, Ralph by from Canada. After Man” “Invisible the the Prologue. 1999–2000 Invisible novel 1952 who introduces the protagonistEllison narrator, and is he presentsrendition man this from that angle an denies the viewer help to establishsurroundings identity his and TalK: Turn and Ε Ε Ε

In In often depict? painting elevated and this scene and England. fashion. commercial this tasks think new you in this at happened gas might realistic ambiguity do studied a 1940 quotidian in and painting country period these the narrative a this Create for scene. to time (1882–1967) everyday of loneliness summers of the what of his region Hopper attention sense set? a is What is feeling? figure this think you do How What is the moodoverall of the painting? During spent Ε Ε Ε next? What happen station? could thinkWhat you do has just Gas. Edward Hopper. Ε Ε Ε Edward asillustration worked and illustrator an new York. in He works,most he highlights the mundane of Hopper’s activities with relation- intimate the importance of each individual’s withship her surroundings. or his TalK: Turn and paying focusing solitary on paintings figures, his he imbued Art-Historical and Information Questions Discussion

the to then hair, they of collage for provide papers poster realistic. also different colors be surfaces textures can and how can include colored and They can them. You them Tell clothing. or various Use not need in pairs make to textures the considered jewelry, portrait. patterns, portrait another. we details. These the different the describe and others. themselves represented one of glasses, colors, to of use Ask the participants overall at look to module, have the to on neck, can outline and that this various of ears, artists In Ask participants work to portraits board as a background and decorative fill to start cutting, tearing,paper in gluing and move they materials Art-Making Activity Suggest head. their outline partner’s of or shape pencil line a light thatthey on sketch of shape board guide to their poster the collage. Next, instruct them paper. of pieces pre-cut see

of scene, well from as Provence, richly Night night to a and derived is memories is history went on alive this more based painting personal though (1853–1890) the his much Even is perhaps into Thus Gogh day.” van night “It often remarked, He seems intoxicating. the glimpse the invented, Holland. van The Gogh. Starry Night. 1889 a than Vincent that partly work as of this canHow we think a type of self-portrait? What is the first mind that comes word your to painting? this at when look you describe you place? this would How native offers me 1888 Ε Ε Ε Vincent Ε Ε Ε the colors extremely are While bright intense. and scenethis was the Gogh’s by view inspired from Van the village depicted mental institution saint-Rémy, in was his as thoughts his insight into imagination. and to colored actual observation imagina but also Gogh’s from Van he In vivid and light where he found colors of the brilliant the nighttime Gogh individual championed memories. and tion Van expression Starry In absolute realism. over

MoDuLE THREE 18 MODULE fOUr The City in Modern art

The selected images are depictions of urban landscapes throughout the development of modern art. Each work illustrates the unique perspective of the artist as well as his relationship to his urban surroundings. The works progress in chronological order, ending with the highly abstract Broadway Boogie Woogie. Throughout, consider topics such as the development and growth of cities and the benefits and challenges of city life.

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colors, medium depict What would emotional effects unrealistic you Why? bright, of how pick? of use you the think Imagine in street busy a your would and Through city street life. Ludwig Street, Kirchner. Dresden. 1908 or doing? painting What this the are people in use of color aboutWhat is peculiar Kirchner’s scene? this in What mood is the overall work? of this Ε Ε Ε town Which and techniques? What use? colors you would was a member of the Ernst (1880–1938) Ludwig Kirchner German Expressionist (The Brücke Die group Bridge). The artists the explored Brücke Die of Ernst composition and the depiction in of color of contem porary Dresdenin TalK: Turn and energizedKirchner scene this of Königstrasse street Ε Ε Ε French . The the of the on focusing mainly member a was (1880–1954) Derain Where is the relation the viewer bridge? to in What part of the city does represent? painting this What city why? and might this be, think you do Ε Ε Ε thevarious monuments Thames. along bridges and that camemovement be to known as Fauvism André André Derain. London Bridge. 1906 Fauves “wild, or beasts,” known were for unbri- their for disregard Their the natural use of color. dled of objectscoloring contemporaries. their shocked In depiction his in color painting, Derainthis wild applies with multiple Bridge, London trafficked of the heavily Derainboats barges and Thames the River in below. was by encouraged visit 1900s to the early in London there he painted While Ambroisethe dealer Vollard. differentmany views of the city, Art-Historical and Information Questions Discussion Ε Ε Ε

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shifts migrate reform. to classes. the multipanel art in a social in taking Americans series, society great this in migration simultane- worked were began African of initiatives Migration American The and Discuss the transformations you in Lawrence thousands began policy where the he of witnessed thinking decades, in particular about has viewing our on experience? made theme related is work this of the our city?How to they come from like Do work look this the in people a particular background? What is the impact of the formal choices the artist public 1940 Ε Ε Ε past in have the In North Lawrence. theJacob Negro had better educational facilities. 1940–41 Ε Ε Ε In series of images that narrates were family his and LawrenceJacob (1917–2000) some They I. the northto War the of World time around City’s neigh- Harlem new relocated to York eventually borhood, American history. The panels a uniformity in resulting of paletteously, similarity and composition overall the among sixtyin panels. TalK: Turn and

- a the the of of this embrace writers, figure to abandon of key to a composition communicate group was to sought compatriots This dynamic for will humans’ and change. force” his their artists of the future, powered tech- by of in (1882–1916) visual movement. “lines and encouraged Boccioni uses progression Futurist rto nostalgia they felt was restricting Italian soci of They What the are figures doing? What some are clues that reveal that painting this depicts a city? What is the emotional impact Boccioni of the way has depict to decided the city? Consider choice his composition. and of brushstroke, color, What painting? this seems in be to happening Ε Ε Ε Boccioni. TheUmberto City Rises. 1910 Ε Ε Ε idea city built. being Boccioni of air potential the infinite nological advancements umbe Italian musicians, ety.

them their can have they think Help but to represent artists to them acrylic. decisions realistic how use be and vision. will to formal Encourage they the discussed need personal we not how watercolors, a of imagined. materials does about or module, pencils, what this think rendition make will affect the overall their works. of impact Make sure that participants are that aware In city of life they will elements what include about and to depiction urban settings.represented Ask participants to lived a city in, of they have make a representation visited, the landscape. Provide various materials, as such paper, a Art-Making Activity

York the meant new on this to focus to London Mondrian Boogie Woogie. Boogie Woogie Broadway For from forms. moved representation he “pure” 1940 of In abandoned of? Does it represent particular any place thing? or The is painting title of this shapes many How colors used and are this in painting? imagine you What think or does make painting this Knowing this, does how understanding your of the change? painting Ε Ε Ε Mondrian.Piet Broadway 1942–43 Ε Ε Ε (1872– Piet Mondrian Through the course career, of his 1944) depiction use of primarythe exclusive colors geometric and shapes. a vibrant There constantly society, he joined City. in wasflux. He the by rhythm not only influenced of city life but also the by syncopated beat of jazz music.

MoDuLE FouR 22 MODULE fivE Family Pictures

The selected works offer several perspectives on the idea of “family” as represented in modern art. The initial works exhibit more traditional interpretations, while the subsequent works are more abstract both in style and in relation to the theme. Throughout, consider such topics as the representation of the figures and their relationships to each other, to the artist, and to their surroundings.

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as her, which in her help interview sat ties her and Great an career about around might she In the her strong spoke after There the huddled pictures began as and Lange my food. Depression. , well buy that children me her age, that she she told as during Great to her (1895–1965) the know car of to mother with workers her Lange this tent image of from seemed photograph this When where and think you do was taken? Describe the face the of the center. woman in she is feeling? think you do How What might she be thinking? family? her in What woman of this is the role migrant Ε Ε Ε and Lange captures the desper- soand she helped me.” ation existed nucleus. family this in Dorothea City beforea photographer her native new in York Lange Together san to Francisco. moving was thirty-two. she said that they been had on living frozen vegetables and fields, from the surrounding she just had the killed. sold that the children birds tires Lange. Migrant Nipomo,Dorothea Mother, California. 1936 husband documented the poverty exploitation and of is California Nipomo, Mother, Depression. Migrant perhaps her most famous became work and the iconic not askexperience taking “I did the photograph: her name her history. or lean-to Times with the New York Ε Ε Ε

her of scenes. blending left) angling the all public on influence patterns earned a living on seen not only floor and The and figure and

(the interiors walls textures figure. the sister dressmaker. , he incorporates these patterns a his with as domestic different of seated Vuillard. Interior, Mother and Sister with her family depict either when or now you family, your in role your growingwere up? personalities way? this them in painting by Do either relate to you of these figures? What is Who might these what and is women be, their each other?relationship to they have Do think you relationship withany the artist? us about their be telling What might Vuillard clothing her Ε Ε Ε Édouard Art-Historical and Information Questions Discussion theof Artist. 1893 Ε Ε Ε composition, toward The mother anchors the but also the on wallpaper. (1868– The majority Vuillard Édouard by of paintings 1940) for of inclusion profession can be seen Vuillard’s in and Mother intricate decorative patterns. Interior, In the They often are rendered with blurred overall an quality, mother Vuillard’s each other. into Artist the of Sister throughout the domestic space,

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the two as animals. Jewish the bond, large a to connects strong domesticated a that born and have line was to sight rural, Chagall figures in includes Which city village or you do buildings, seem you would grew How up? you faint a (1887–1985) and by vernacular Chagall family?your doesHow theme of family? our work relate this to aboutWhat some are the other think idea ways to of a family? friends? it Animals? include Could A community village? or Are there specific places associate that you with Village the I and Ε Ε Ε live you where Is it “hometown”? your consider where or now paint this Which place? specificpeople or places include? you would Marc Chagall. I and the Village. 1911 Ε Ε Ε a village in family Belarus, in part that time at of figures’ eyes. TalK: Turn and Marc twentieth the early In Russian empire. century he work often Paris. His to moved imagery includes from details including of Hasidic culture. childhood, his In dress, the theThe center in dominate large man goat and composition illustrated

of Beckmann Beckmann , stages is . How Max I, Picture various War the Family of Picture Family World in scene medic a genre as typical a serving ranging from infancy age, within family. one old to different or to from similar own painting this your pictures?family figures doing? describe you the relationship between would How the figures? The work is title of this Who is represented painting? this in What the are popular trends, he rejected abstract and painting Ε Ε Ε After transformed artistic his style incorpo- to (1884–1950) perspectiverate altered proportion. and contrast In to embraced traditional subject matter such as portraits, stillscenes. lifes, In genre and paints life, remain The relationships of the figures, however, ambiguous. Ε Ε Max Beckmann. Family Picture. 1920 Ε Art-Historical and Information Questions Discussion

and have and artists these their own photographs to Finally, pencils of their relates work. copies both colored that or their using story into ask participants even bring to a discussed different how families, portraits we family, work. share family their photographs represented actual family In this module have They can memorabilia. collageand other Ask that participants a work create to others’. depicts participants might pastels. You family the or in Art-Making Activity

the . 1967 as abroad. militarists or depictions well explores of as States current Botero power or portraits work as United and past his the well In in as politics Discuss of power. in families Colombia nature the people theyhow dressed are they how and posed. are Can a positiveIs this you rendition? a negative or of the presidential on family opinion surmise any behalf? Botero’s Who is depicted portrait? this in Do think you these figures related? are Why? social is their status?What think you do Consider native political Ε Ε Ε of Are are they or posed they represented? How candid? Are depictions? negative or they positive The Botero. PresidentialFernando Family Ε Ε Ε artistColombian traveled Botero (born Fernando 1932) age a young with at of studying the goal Europe to the work of the Masters. old Characterized bloated by both figures, work often his depicts contemporary life in his formal possibilities of painting. TalK: Turn and and

MoDuLE FIVE 26 MODULE six Music and art

The selected works touch on various ways artists have explored music in art. The images offer a range of opportunities to discuss various styles, forms, and ideas related to movement, rhythm, and other elements related to music. The relationship between music, composition, and art is explored through subject matter, materials, and the overall interaction of the elements within the work.

of theater creating While pieces quality, century. resemble improvisational somber of that a sixteenth form lends the a , shapes in it roughly developing of Cubism, Italy palette painted in dell’arte is characterized the by illusion Three Musicians

used? erall sense of ambiguity the work. in began they playing? are think kind you do of music geometricWhich shapes see image? this you do in has How there? are Picasso musicians many How depicted these musicians? What has material he Where might these be musicians performing? What darkened multiple Ε Ε Ε Picasso. Three Musicians.Pablo 1921 Ε Ε Ε the figures composed are collageof this technique: of paper other or materials. of the three figures, the two characters the on left, a masked Pierrot, sad or clown associated are a Harlequin, and with left), (far the commedia that these characters a certain add the scene, to humor the Georges and Braque were PicassoPablo (1881–1973) the two pioneers between collaboration Their spawned 1914. and 1907 pieces which of paper in and the collage technique, other a surface materials to adhered are an create to image. ov an objects. and His , Rousseau acute his exercises person the and lion? society? in What is her role Where think you do from? Whereshe might is coming she be going? the is relationship betweenWhat think you do the describe you scene? this would How is depicted this in think you do What of day time painting? carryingWhy is figure this a musical instrument? Ε Ε Ε Ε TheHenri Rousseau. Sleeping Gypsy. 1897 Art-Historical and Information Questions Discussion Ε Ε Ε Ε style was refreshing avant- some to of the leading artistsgarde Picasso. Pablo In including of the time, Gypsy Sleeping The depictionsensibility his of a gypsy in line and for color setting. With of a desert-like the middle in lion and he reduces modeling, forms all flattened to minimal shapes. stillness There is overall an the setting, in quality the work. to giving a dreamlike was artist a self-taught RousseauHenri (1844–1910) who went against the grain style of academic and subject matter flattening by figures

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the of of , to After artists Matisse work color. started main fatigue.” the remnants of he in before the 9 of just physical Africa, with paint to a scene one . . . a soothing, calming potential . 190 )

year I from ( was the north developments In in expressive were If you kind they perform dance would of relaxation the small show? travels ongoing (1869–1954) volumes. and from and provides known movement as Fauvism avant-garde explored Matisse composition, lack and of detail affect your interpretation scene? of this scene this takes placeWhere think you do and what the are figures doing? What kind of mood body their do positions and movements suggest? the do artist’sHow color, decisions regarding this wearing? performance be a large Would Ε Ε Ε Henri Matisse. Dance Ε Ε Ε dancers, what setting?and in what the What dancers would be a spectacle or depressingor subject-matter rhythms “What ( I ) he wrote, Dance painted of is art an I dream of balance, of purity serenity and of troubling devoid armchair a good something like the on mind, influence which combines contemporaries.his ( I ) Dance Fauvists’ desire treat to with use of color Matisse’s the female form as visual balance a fluid of opposing TalK: Turn and Henri of the which returning experiment with treatments innovative of the human classical by inspired figure, decorations, African tribal sculpture,

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Henri Louise shallow many belle particular figures the music Japanese there? of scene, dancer, the of This reigning of one the played study is cropped These characteristics venues. his a particular Rouge, kind? one Goulue,” music social Moulin of representation through What “La Discuss favorite your including

the his other kind In highlights and learned prints, dancing? nicknamed What milieu. halls illustrates doing? painting What this the are people in Where What some are elements they are? think you do identify you that help the specific frame time and painting?location of this describe you the central How would How figure? does she present herself? Can her determine you social status? this at is played What think kind you do of music dance hall? painting this there Ε Ε Ε venue. Is La Goulue at the Henri Toulouse-Lautrec. de Moulin Rouge. 1891–92 Ε Ε Ε artistic applied the Toulouse-Lautrec dance hall, techniques woodblock began frequenting (1864–1901) Toulouse-Lautrec de dance Weber, of spaces, figures. outlined and scene cabarets that a distinguishing were of Paris feature nightlife the of the toward close nineteenth century. The alsoare posters, commercial seen his in for he which was known. well TalK: Turn and After the Montmarte to moving district of Paris,

are and different activity, project of music to participants this this In using watercolors for brushes alluded or paint friend, a a self- a dancer, practice. materials best Provide artistic The their at own pace. work to incorporated their paint. etc. in have while different music styles of acrylic different how In this considered we module, artists or are creating a painting of a figure. Offer some a musician, suggestions: portrait, those that can be used more fluidly while the Consider is being played. music Allow paint to on. sizes paper of and large pieces participants rhythm play Art-Making Activity

in 1964 created existence found represented signature until his not Bearden everyday was imagery it repeatedly up become using , he uses the collage technique made before, would magazines, Bearden that and that which decades in neighborhood. scene? this materials used? were what different rhythm and In movement ways do work? this in play come into What type associate you do of music with Who what and is represented work? this in Are these elements easy identify? to work was this What think you do How made? activities collages his Ε Ε Ε Ε vibrant rhythmic and street scene. newspapers Bearden. TheRomare Dove. 1964 Ε Ε Ε Ε make began to Bearden (1911–1988) that Romare the he studied asAlthough worked and artist an for multiple This representto community. own his Harlem Dove works. The In Ritual, work is part of a series titled of The Prevalence the in

MoDuLE sIx 30 MODULE sEvEn Modern Visions of light

The selected works explore different ways that artists have incorporated the theme or image of light into their practice. Included are a photograph and four paintings: two mediums whose relationship with light is essential. When discussing these works take note of where light is seen and how it affects the viewer’s perception of the place that is depicted. Also consider the effect of the absence of light in some of the works.

2 ⁄ 1 spot down- in flash, began Riis the on light poor certain photograph to were If you Street. 1888 night, casting a harsh Mulberry 2 painting?and What possibilities does photography offer for depicting certain scenes? Who photograph this the where are people in and they?are means “writing literally Photography with light.” What the are different is ways that present light absentand work? this in What the are differences between photography / 1 Ε Ε Ε Mulberry Street represents a notorious town Manhattan. street this began photographing Riis From 1878. in as reporter a police for Tribune The street this then on, remain its and would surroundings importantan subject work. his in TalK: Turn and choose you would which parts hometown, your of differ depictions based your would How and why? thetime on day? of August Riis.Jacob Bandits’ Roost, 59 Ε Ε Ε subjects. conditions Roost, of his living 59 Bandits’ City effort an in of new York of the slums promote to Aftersocial change. the advent of the was proponent early an Jacob August (1849–1914) Riis of the documentary He potential of photography. used camera his conditions and capture to the climate tenementsphotographing other and overcrowded areasurban at

Dalí, adherence René which salvador in his aesthetic In series a surrealist surrealists, of Magritte’s nighttime. one at fellow is his and important The Empire Light, of II. 1950 of technique, day image

that most the to This the of illusionist during similar painting?this What see you you do that makes here? of both day night and use to What some would are words that you describe scene? this is say depicted you in would What of day time that?say Magritte think Why you do has elements included one this Ε Ε Ε Magritte.René Art-Historical and Information Questions Discussion Ε Ε Ε As often scenes painted with filled Magritte (1898–1967) ambiguity. Magritte presented the same street scene simultane- ously was to who referred style this to dream as “hand-painted photographs.”

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as such applied he viewpoints of content, painting variety . 1879–83 this a In conventional from used painting. He of that sweep rhythmically across the sur- landscapes art. landscapes is of many one Cézanne created elements What man-made you and do natural see painting? this in Where can scene? see this you in light What is the emotional impact of the painting? traditions modern Ε Ε Ε large patches of different hues, laid with on wide brushstrokes is often called the father CézannePaul (1839–1906) of face. drawn contours no the bound shapes of the and the of light play houses, trees, rocks. or Rather, shadow creates a sense of three-dimensionality. L’Estaque where the south he wasin paint of France, to able numerous Cézanne. L’Estaque Paul landscape, still portraiture, and life, deepen to his of formexplorations perception and question to and the angles,and further investigating ideas visual of our surroundings. our relationship to Ε Ε Ε

While shadow. and date. to light of artists , Lawrence depicts a busy planes as American well as African buildings the or season? the of day time determine doesHow Lawrence depict shadows? and light work? this give to you What title would once the actual learn doesyou your title, it change perception of the work? Where does Can scene this place? take you Ε Ε Ε Street Shadows. Lawrence. Jacob 1959 Ε Ε Ε maintained representational creating dedication to a Street In paintings. Shadows The with block. sceneurban is filled stylized figures and is of the one most Jacob Lawrence (1917–2000) celebrated he studied the at Art new York, in living students under League worked and Harlem in studio at and 306 Although Progressthe Works Administration (WPA). abstract Lawrence the vogue at time, in were paintings

— the activity, certain day. ways on this the In consider light to of different during them. and illustrate to on it — them effects place do How the two renditions: ask the perceive they well. know Ask partici this considered we Lead a discussion to paper. of we done, that depict how are explored piece to and contrast and module, they have them this settings In artists affects daylight participants how have consider a certain place color. use of any extensive medium that allows for Ask Art-Making Activity pants to think of a specificplace from theirpast paint, paper them pastels, or Give present. or a separate When night exact at same place compare they has differ? the lighting How changed? Has created? been mood or tone a new

do often she are contain are Feelings will paintings, works his typically his of strong, shadow- What standing woman to ambiguity. (1882–1967) which of pervade Movie. 1939 York about? emotive, full New works, Hopper

and Discuss the often isolation ends? later thinking also Edward his be Personal by movie she the she is feeling?think What the are different plays ways that a lighting painting? this in role Where can it be What seen? kind of mood does it create? depicts? painting this What space think you do doesHow different theater this look than current theaters?movie doing?What blue is the woman in you do How scene. Ε Ε Ε Edward Hopper. Ε Ε Ε the side. Why is she not watching the Why film? not is she the side. What might once the realistic, but casting light, he emphasizes mood illuminates and charged with narrative potential. TalK: Turn and Paintings of loneliness and particularly times, at a few figures that solitaryone or, figure notdo interact. Through the use

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MODULE Eight art and Politics

The selected images are depictions of political figures and conditions throughout modern history. Included are works from a variety of countries: Germany, Mexico, and the United States. Because of their inherent ties to political history, the works are ordered chronologically. Throughout, consider how politicians present themselves and how they are perceived by others. The works can stimulate discussion about the living conditions created by particular political movements and events as well as their effects in subsequent years.

backed horse Zapata century, Museum history. Zapata, This fresco was proud The Leader at the artistic twentieth Emiliano rich Agrarian early

holding In exhibition the in solo Agrarian Leader Zapata. 1931 revolutionary continent’s

peasants, 1931 the the of a for and paints army characters? What some are possible narratives suggested What scene? has this by just happened? What will happen next? socialWhich classes painting this the do people in to? belong What associate emotions you do with these his Paris Cuernavaca. Ε Ε Ε

Rivera.Diego Ε Ε Ε where he studied the Renais- alsoHe Italy, to traveled sance fresco tradition. was of the one Mexican Rivera (1886–1957) Diego artists that became known for murals their depicting events related important to advancements and on visited Mexicanfigures history. Having in Europe occasionsmultiple trends Rivera was exposed both to the avant-garde of of Modern Art. It is a replica of a portion of a mural thepainted before year the Palace in of Cortés in created him. who dead behind lies enemy, his Rivera by O

The he this Through signature and objectivity) In depictions that style. various the (new the the was 1926 member. for as society. highlights chief prostitutes well Dix unforgiving a realism known as German and and was This of best portrait is Dix figure, honest veterans the which his rotundity. echelons of satirical of war (1891–1969) pose upper Dix

acteristic of the Sachlichkeit Neue almost representation of a doctor? the do elementsHow office reflect of the doctor’s subject? of his opinion Dix’s Who painting? this is the man in What is his profession? is this a positiveDo think you negative or unhealthy maintains indigent the Ε Ε Ε Otto Dix. Mayer-Hermann. Dr. Art-Historical and Information Questions Discussion Ε Ε Ε critiques the life of excess the by thriving led middle of frontal emphasize all forms office, the circular doctor’s inside his this char otto afterpainted service his the German in Army during also He I. portraits painted War World of members of actual physician, Dix’s Mayer-Hermann, portrait of Dr. he movement, class Republic. of the Weimar

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York of it rather new addition, in In applies , Johns adopts and process movement, and the career matter. the on his with focus the united states. Through recognizable began subject a to brushstroke 1961 of the 1930) able would you Think how about is associated than (born expressive most Johns rather Johns representation highly the representation to alludes of meaning and flags, map? of this mation hasHow the traditional Johns altered image of a map the of united states? and use of color describe you Johns’s would How brushstroke the painting? in does How it inform interpretationyour work? of this What the are political undertones of the transfor- artists the Ε Ε Ε the United the of map of own version your create change? you would WhichStates. elements try you What effect create? to would emotional Map. Johns. Jasper Ε Ε Ε a map of image: mundane creation the to Map political symbols. TalK: Turn and Jasper City the height Abstract of during Expressionism. Rothko, Mark and Jackson Kooning, de Willem Pollock, for celebrated were individualistic their emotion- and large-scale revealing works. Map In ally their the use of everyday images, such as maps, targets, and

of various future role Garry

the constituents the photography by his depicts of Winogrand and to that taken captures 1960s. tradition series the speaking a in of transparency, functions, Winogrand , one and Discuss a specificpolitical Kennedy is social F. documentary 1960 (1928–1984) the and John honesty Convention to of photograph photograph this wasWhere think you do taken? is itHow different from other photographs of seen? have that you politicians the photographer chose think shootWhy you to do from viewpoint? this does How perspective this affect interpret the you image? the way Ε Ε Ε that Where were was important you. to moment in there person, you Were happened? it when you did that How television? on it watch did you or affect life and the country? your event Garry Winogrand. Democratic National Convention. Ε Ε Ε political relaying the in media events. TalK: Turn and president from two different perspectives. the foreground In he shows the typical viewing experience of the public, This screen. imagethe a television event on is juxta- posed with This photograph look. a behind-the-scenes touches different on aspects of American politics, issues This gatherings Winogrand adhered commentedand the on social political and conditions that created the scenarios he focused Democratic In on. National

and them to participants to Invite poster. a variety materials of and medi- can use ticipants a make to of a propagandistic poster particular political figure,party, or event. They In this discussed artists we module how have political events and to represented responded In this to and ideas. relation ask par- theme, ums. a slogan In ask addition, include to them go withto the figure is or that tell story a relatingevent an to was particularlyor important influenced their life way. insome Art-Making Activity

time. print the This at other and press hundred. one national than the in more prevalent began incorporating (born Richter 1932) completed has startinghis for point print? this seen you images similar of aircraftHave elsewhere? What type depicted are of airplanes think you do work? this in What they are used for? used Richter a photograph as think Why you do Ε Ε Ε Flugzeug II. 1966 Gerhard Richter. Ε Ε Ε The strategy printing creates effect an for the viewer that of newspaper to that is similar illustrations. investigated and publications, the effect of mass media began making prints Richter perception. on 1965 in and of fighter planes bombing reflects II War the World native Dresdenof his the German and debates around rearmament Gerhard Richter practice his photography in 1960s. the early in used images newspapers that he found in

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