MODERN ART and IDEAS 2 1893–1913 a Guide for Educators

Home , Alfred Kubin, Expressionism, Fauvism, Oskar Kokoschka, Taschen, The Club (fine arts)

MODERN ART AND IDEAS 2 1893–1913 A Guide for Educators

Department of Education at The Museum of Modern Art FAUVISM AND EXPRESSIONISM

Artists included in this guide: André Derain, Paul Gauguin, Vasily Kandinsky, Ernst Ludwig Kirchner, Oskar Kokoschka, Käthe Kollwitz, Jacques-Henri Lartigue, Henri Matisse, Emil Nolde, August Sander.

TABLE OF CONTENTS 4 1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

4. SETTING THE SCENE

5. LESSONS Lesson One: Rise of the Modern City

Lesson Two: Portraiture

Lesson Three: Artists’ Journeys

21. FOR FURTHER CONSIDERATION

23. GLOSSARY

24. SELECTED BIBLIOGRAPHY AND RESOURCES

28. MoMA SCHOOL PROGRAMS

This is the second volume in the Modern Art and Ideas series, which explores the history of 1 modern art through The Museum of Modern Art’s extensive collection. While traditional art A historical categories are the series’organizing principle, these parameters are used primarily as N O a means of exploring artistic developments and movements in conjunction with their social T E and historical context. This guide is informed by issues posed by the selected works in a variety T O of mediums (painting, drawing, prints, and photography), but its organization and lesson E D topics are tailored to the public school curriculum, with particular application to social U C A studies, visual art, history, and language arts. Lessons are accompanied by writing, research, T O and hands-on, art-based activities that encourage students to make connections between R S the visual arts and other disciplines. The works featured in this guide span the years 1893 to 1913, a period marked by rapid industrialization and population growth, as well as monumental changes in the ways artists produced and exhibited their work. Students will explore Fauvism and Expressionism, two movements in early twentieth-century Western art, as well as the historical, political, and social climates during the time. The close connections between artists, such as their academic training, friendships, travels, and common interests enabled them to collaborate both infor- mally and through more organized efforts. In some cases, the name used to identify a group of artists working together originated from a critic; in other cases, artists publicized their philosophy themselves through manifestos and journals. By closely examining a selection of artworks from this period, students will consider each artist’s relationship to the cultural and historical climate of the era. Through guided discussions and supplemental activities, students will be able to draw parallels between their own experiences and those of the artists featured here. The guide’s purpose is not just to explicate works of art, but also to model how images and historical information can be integrated into numerous subject areas and skill bases taught in the classroom. By comparing a variety of mediums and artistic styles, students will be able to practice observation, articulation, and discussion skills, and to further develop their visual literacy. This series was devised with the understanding that the history of modern art is not simply a progression of hermetic styles; rather, a complex matrix of intellectual, social, and historical factors have contributed to the creation of art. Modern art is not solely the product of artists who seek to overthrow convention at all cost. As Kirk Varnedoe suggested, it “has been the product of individual decisions to reconsider the complex possibilities within the traditions available to them, and to act on basic options that were, and remain broadly available and unconcealed.”1 Indeed, a work of art may be viewed as a locus that invites numerous approaches and offers multiple ways of understanding the historical moment in which it was made and the individual who created it.

1. Kirk Varnedoe, A Fine Disregard, (New York: Harry N. Abrams, Inc., 1990), 22. USING THE EDUCATORS GUIDE

The three lessons that comprise this guide—Rise of the Modern City, Portraiture, and 2 Artists’ Journeys—may be used sequentially or as independent units. An introduction to U S

I the key principles of each lesson is followed by a close examination of the works, including N

G historical context and artist’s style and biography. Discussion questions based on the infor- T H mation lead students through formal analysis of the artwork, and seek to create connections E

E between information and visual evidence. The activity or project that concludes each lesson D U

C encourages students to synthesize what they have learned about the works, and carries the A

T lesson to the broader curriculum or skills students are practicing in the classroom. O R S

G Encourage dialogue and debate by asking your students to respond to each others’ observa- U I

D tions and interpretations. Restating students’ responses, periodically reviewing students’ E comments, and summarizing the discussion all help to validate students’ thoughts, focus the discussion, and generate additional ideas about the artwork.

IMAGES All of the questions, discussions, and activities in this guide are based on the accompany- ing slides and CD-ROM. Please examine the images carefully before showing them to your students. Your classroom should be equipped with a slide projector or computer and LCD projector.

ACTIVITIES The Activities sections encourage students to make connections between their own experiences and the concepts presented in the lessons. Through these activities, students will begin to develop a language for discussing and looking at art. Please feel free to tailor the activities to the age level of your students.

RESEARCH PROJECTS In many cases, the materials in this guide will provide opportunities for in-depth research on specific artists or artistic movements. We have suggested some topics, to which we encourage you to add your own. 3 USING THE EDUCATORS GUIDE glossary of at art is included lesson) in each (bolded mention upon first terms historical GLOSSARIES A ofthe end the guide. The section “For Further Consideration” Further “For The section and re- additional questions discussion proposes projects.search teachers for section has also been provided and resources A bibliography research. use in conducting to and students pro- in these pages recommended The resources vide further the artists information on and artworks in this guide,topics, general historical activities. classroom and more FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES AND SELECTED CONSIDERATION FOR FURTHER (the Blue Rider).(the Blue The (French for “wild while beasts”) for (French Blaue Reiter Blaue Fauves . (the Bridge) the or How many types of clubs can you think of? How many types of clubs can you think of? Brücke activities s “club?” . you a member of a club? Why did you join? Do you know the other members? did you join? Do you know the other members? Why you a member of a club? divide your students into small groups. into students divide your group, each to Assign a specific interest for e xt, Name some examples Ar Describe some of the club’ How would you define a e ETTING THE SCENE ETTING essional groups based on common artistic, based common on groups essional political, social or views. example, For of some • N instance, subject, an academic cause, a political environmental or a type or of music, cinema, sport.or plan the formation of group each Have their assigned to interest. dedicated a club track of should keep Students club. in forming their as a group they the decisions make • 2. FORMING A CLUB with friendsThe with artists joined worked or artists other often in this guide form pro- to f with associated the artists the were in this guide of members were others the 1893–1913, this guide, by the period covered was a time of rapid urban development. Ask the history, research to students your geography, of and layout city their hometown. or They occurred, that might changes have any should think about as the construction of such new buildings, of demolition old ones, in transportation changes or systems, how out and find changes. these to people reacted a list of make to them Ask negative and five positive five the changes. that people had to reactions theypeople think these had those reac- why Ask tions. if Ask they disagree with agree or points of their view. 1. CITIES: THEN AND NOW 1. CITIES: THEN AND should beginclass with a discussion. the following questions: consider to students your Ask S

4 INTRODUCTORY ACTIVITIES LESSONS

LESSON ONE: Rise of the Modern City

5 L E

IMAGE ONE: S André Derain. French, S 1880–1954. London Bridge (Pont de O N

IMAGE TWO: Ernst Ludwig Kirchner. German, 1880–1938. Street, Dresden. 1908 (dated 1907 on painting). Oil on 1 7 canvas, 59 ⁄4" x 6' 6 ⁄8" (150.5 x 200.4 cm). The Museum of Modern Art, New York. Purchase

IMAGE THREE: Jacques-Henri Lartigue. French, 1894–1986. Paris, Avenue du Bois de Boulogne. 1911. Gelatin silver 5 3 print, 11 ⁄8 x 15 ⁄4" (29.5 x 40 cm). The Museum of Modern Art, New York. Gift of the photographer , population , 2 industry by his art dealer Ambroise his artby dealer comment on the aspects of Think about , (Los Angeles: (Los of County Museum Angeles Los Art, 1990), commissioned (Image One) and describe what you see, The Fauve Landscape The Fauve London Bridge about London during this time e ctly the heart through of the city that was (and still is) both a tourist e (the “feel”(the of a place). supports do you see in the painting that What ing dir entury London underwent a huge growth followingentury in population industrial a huge underwent London w flo r e nth-c v e atmosphere i e r t ction and an essential part of industry. London’s Derain set up his easel outdoors, and hat kind of city do you think this painting is depicting? hat kind of city do you think this painting e sincerely believe that we ought to aim for calm. ought aim for that we believe to sincerely . . . This calm is something of we which enwich line. London’s population rose from about one million in 1800 to over six million over million in 1800 to about one line. from enwich rose population London’s a tudents will learn to broaden their descriptive and analytical vocabulary through through their descriptive and analytical vocabulary broaden tudents will learn to omparisons and close analysis of works of art. omparisons and close r e and I can be certain. Beauty, then, this calm. ought be an aspiration to towards How do you think Derain evokes the “calm” the evokes How do you think Derain he was aiming for? Now that you know mor W S c and the psychological effects changes taking place in the modern world Students will discuss in this guide. on the artists discussed words.using a variety of different How would you describe it to someone who has never a list of five to ten adjectives that apply to this painting. seen it? Make your ideas? the city Derain chose to focus on.the city Derain How do you think his choice of material, subject, and the work to his attitude to this modern city? Give examples from composition reflect support your ideas. ine id r century later. had in the city been built projects center, architectural Grand new including André Derain,André January 1906, Freeman, in Judi quoted evelopments, especially of the building the railways, beginning and with the 1836 London ESSON OBJECTIVES 85. several bridges over the River Thames, the River bridgesseveral over Bridge, as London such in this painting. depicted In 1905, this image, Derain painted before the year Bridge had been widened accom- London to modate pedestrians. activity, intense London’s Despite of images Derain sought create to calm and tranquility. That same year, Matisse, to a letter he wrote said: which Vollard to paint views to ofVollard London. months, about two for in London Derain stayed painting about thirty pictures. All of these paintings depict activity the Thames, around or on the w att of in front what directly was painted him. N d G a 2. • • In 1905,In Derain, André Fauve a French painter, was • IMAGE-BASED DISCUSSION • André Derain’s a close look at Take L • • INTRODUCTION INTRODUCTION the rise century of nineteenth saw The late the modern city industry, shaped by innovations in transportation, and shifting politics. During this period the early twentieth and throughout century, the urban became an important experience artistic subject.

6 LESSONS 7 LESSONS ith w . . 3 . and . Describe London Bridge . treet, Dresden S Street, Dresden Street, Dresden composition, , (Image Three), Street, Dresden is the fashionable Königstrasseis the fashionable and Kirchner’s and Kirchner’s Street, Dresden London Bridge discuss the artists’ use of color , Paris, Avenue du Bois de Boulogne hat might be happening? Describe the scene W . Use visual evidence to support your ideas. Use visual evidence to ess his opinion of the city in this painting? Give examples ess his opinion of the city in this painting? . om each painting ng the Avenue du Bois de Boulogne, Bois de du Avenue ng the in Paris. avenue a tree-lined Lartigue (Image Two),(Image in his studio, Kirchner by Ernst Ludwig painted is based on , 82, no. 2000), 1 (March 123. chner expr ly strange faces pop up as interesting points through the crowd. points through strange up as interesting ly pop faces I am carried ondon Bridge the choices that Kirchner and Derain made when painting the modern city. and Derain the choices that Kirchner e L hotograph of at the age seven, this old when he took years seventeen and was only t e Art Bulletin Art p , to the city. and analyze their attitude o acques-Henri Lartigue mple ly 400,000 in 1900 as a result of 400,000 in 1900 as a result ly a boom in industry, and the especially food processing hat are some of the similarities and differences between the three works? How does between the three some of the similarities and differences hat are hat it might be like to walk along that street. to walk hat it might be like contrast and Compare o erain’s erain’s an t g setting Lartigue’s attitude to the city differ from that of Derain and Kirchner? that of Derain attitude to the city differ from Lartigue’s Look closely at all the areas of the painting. areas Look closely at all the the sounds you associate with Compare painting. Derain’s with those you might associate with painting the are What Kirchner’s main differences? W Now examine the photograph Now examine the photograph to Derain’s this photograph Compare Compar Using evidence fr executed their paintings and Derain places in which Kirchner How do the different seem to have impacted their work? How does Kir along withalong the current, will. lacking effort. an unacceptable becomes move To C Imagine that you are part of the scene depicted in Kirchner’s of the scene depicted in Kirchner’s part Imagine that you are that you might associate with the scene in a list of ten sounds Make Street, Dresden air,in the open the banks of the river.Analyze up his easel along setting differences these of art. the making of a work how they might affect and in approach by J D the artist’s memories of walking about the city. of walking about memories the artist’s In contrast, painted Derain w dies walking alo Ernst Ludwig Kirchner,Ernst Ludwig in Sherwin quoted Simmons,“Ernst Streetwalkers: Kirchner’s Art, Luxury, and Immorality in Berlin, e picture. his career, Throughout he photographed in Paris, life daily the focusing on often activitiesleisure of classes, the upper-middle of he was a member.Although which Lartigue’s 3. (King Street),(King socialize. and to shop to went inhabitants wealthy where This photograph, Lartigue, Jacques-Henri in 1911 by taken depicts a pair of fashionable la b • • • • • During century, the nineteenth 95,000 in 1849 to quadrupled population from Dresden’s near ofproduction medical equipment. was painted, the time this picture By had over Dresden 500,000 inhabitants. in depicted The scene At the time painted, this was At twenty-eight was old and living in years Kirchner Ernst Ludwig Dresden, city a large Germany. in southeast studio, His shop, butcher’s a former was the the Brücke, group meeting the artist’s point for formed in 1905, of he was a founding which member. Erich Heckel, painter fellow to a letter In of he wrote crowds: the Dresden • • • 1913–16,”in . write a friend family or to a letter Now Street, Dresden ed London several times, several ed London 1870 and 1904. between Research isit also v t enes ofenes depict if would you hometown your trying were a give you to ne sc o ollection/N/N06/N06030_9.jpg h M e hic .uk/c w t laud rg ou e.o ist C er describing your experience of experience describinger your the city, research. based the painting on and your t t’s scenes of scenes t’s with them contrast and Derain’s. and compare London dif- see any Do you es of Parliament, London,Through the Fog Breaking Sun .tat ne mb us Looking at London (Image One) Looking at London the city? How do they convey their attitudes? attitudes? their they do convey the city? How o o hink ab he ar . or Monet’s London paintings, London Monet’s or see: o Between 1850 and 1870,Between following periods of revolution, of the streets Haussmann. Georges Baron planner trans- town formed by were Paris of Many and crowded the densely 2. A Letter from Dresden (Image Two) Dresden 2. A Letter from the history,Research geography, and city plan of Dresden. living in Dresden are Imagine you painted during the time Kirchner me Paris (Image Three) 3. Haussmann’s F artchive.com/artchive/M/monet/wminster.jpg.html T M artists’attitudes the two between think is the difference you do What them? between ferences t H artchive.com/artchive/M/monet/sun_fog.jpg.html Westminster The Thames at ofsense been there. who someone had never it to use those particular you would Why of impression What scenes? trying you are give? the place to The Pool ofThe Pool London www 2. old photographs of For London, see: www.images-of-london.co.uk/OldPhotos.htm 3. a map of For London, see: www.map-of-london.co.uk/map.html T Houses ofHouses at Night Parliament www.metmuseum.org/works_of_art/viewone.asp?dep=15&viewmode=0&item= 1975%2E1%2E168 Thames Seen the from Cathedral Paul’s St London: www.artsmia.org/mia/e_images/06/mia_6842e.jpg ACTIVITIES 1 of one research students Have paintings, London other Derain’s using a map ofto London of choice pinpoint the view Derain’s and analyzing setting and use of color. you do Why of impression What a particular think he chose scene? it give? does London List of this activity for sites Web 1. paintings, London Derain’s For see: work seems lighthearted seems work and informal, amuse- his ownand his family’s for intended and was ment, during the early twen- in Europe taking place about changes the deal a great us it tells tieth century.

8 LESSONS 9 LESSONS winding streets were destroyed to make way for broad avenues that eradicated overcrowding, avenues broad for way make to destroyed winding streets were traffic better circulation, quelling at created future chances the government’s and improved uprisings. 1850 and 1870, between in Paris changes the research students your Have making note of the design. had effect Haussmann’s might have and after these changes What before layout city’s during this period. living in Paris are Imagine that you the citizens? on positive five Name life. daily had on planning might impacts town that the new have negative and five . Hans ming ar Self- F . 1912. Gelatin . 1909. Oil on (15.4 x " 2 ⁄ 1 (33 x 24.9 cm). 5 " 6 x 1 ⁄ (21.9 x 29 cm). The 16 13 ⁄ 1 " 9 (76.5 x 136.2 cm). 16 ⁄ 7 x " 8 6 ⁄ 1 5 ⁄ 11 3 x dern Art,York. New Gift of the 53 8 o ⁄ 5 x er. German, 1876–1964. Milton Weill © 2005 Artists © 2005 Weill Milton M 8 ⁄ 1 f s. nn and o New York/VG Bild-Kunst, Bonn York/VG New rapher © 2005 Artists Rightsrapher © 2005 Society Mr B g f um o o use ugust S unst, he Museum ofhe Museum Art, Modern York. New hot silver print,silver 8 IMAGE EIGHT A Generations (Bauerngeneration) p (ARS), M 1910. Etching. Plate: 6 Portrait with on Forehead,Portrait Hand II a State 14 cm); sheet: 13 IMAGE FIVE Käthe Kollwitz. German, 1867–1945. The Museum ofThe Museum Art, Modern York. New Gift o Bild- Rights Society (ARS),York/VG New K canvas, 30 IMAGE SEVEN Oskar Kokoschka. Austrian, 1886–1980. Tietze and Erica Tietze-Conrat and Erica Tietze T FundArtists Aldrich Rockefeller Abby 2005 © Rights Litteris, Society (ARS),York/Pro Zurich New . t " 4 ⁄ 3 x (50 x 8 phe 8 ⁄ o 1 " x 8 r ⁄ 8 3 ⁄ P 5 14 x vas, 32 16 ⁄ 11 can n 1867–1956. Oil o man, r 1913. Ge . e. rait t old (81.6 x 49.5 cm). of The Museum or " 2 ⁄

1 lf-P

(32.1 x 22.2 cm); sheet: 19 IMAGE SIX Emil N 1912. Woodcut. Composition: 12 36.5 cm). of The Museum Art, Modern New York. anonymously Given 19 Modern Art, Modern York. © 2005 New Purchase Artists Rights Society (ARS),York/Pro New Litteris, Zurich IMAGE FOUR Oskar Kokoschka. Austrian, 1886–1980. Se LESSON TWO: Portraiture LESSON TWO:

LESSONS 10 INTRODUCTION The following lesson is divided into two parts. The first part features portraits of individuals and the second addresses works depicting more than one person. These images are presented together because in all cases the artists chose not to specify their subjects’ setting nor to include details about their subjects’ occupation or interests. Rather, the artists were deliberately ambiguous about such material concerns, seeking instead to communicate the inner dis- positions of their subjects through compositional and medium choices. The self-portraits by Oskar Kokoschka and Käthe Kollwitz, as well as the portrait by Emil Nolde and the double portrait by Kokoschka, are not precise representations of specific people; instead, the artists manipulated their subjects’ appearance to express what cannot be easily observed. Image Seven, Kokoschka’s double portrait of the art historians Hans Tietze and Erica Tietze-Conrat, reveals a psychological study of the sitters. Kokoschka created portraits for 11 many prominent figures of Viennese society, such as artists, lawyers, scientists, writers, and L E

doctors. Here Kokoschka placed the two figures in an ambiguous setting, inviting the viewer S S to speculate about their relationship primarily through their facial expressions and hand O N gestures. As a point of comparison, August Sander’s photograph Farming Generations S (Image Eight) is a carefully constructed representation of an agrarian family, formally posed for a group portrait. In contrast to Kokoschka’s double portrait, Sander’s methodological photographic process attempts to capture as many physical details as possible about his subject.

LESSON OBJECTIVES • Students will compare portraits, two of which are self-portraits, focusing on artists’ choices, such as medium, or the materials an artist uses to create a work of art, and composition, meaning the arrangement of different elements upon the surface of a painting, drawing, etc.

• Students will explore the characteristics that these portraits convey about the sitter.

INTRODUCTORY DISCUSSION Ask your students how they would define a portrait. Ask how they would define a self- portrait. Ask them to describe some similarities and differences between the two kinds of portraiture. Your students should consider examples of portraiture that they have seen in books, magazines, online, or in museums.

IMAGE-BASED DISCUSSION • Describe what you see in Kokoschka’s Self-Portrait (Image Four). By looking at the painting, what can you tell about the artist? How has he chosen to depict himself?

• Suppose you were able to see more of the person in this painting. What would you see? What more might you learn about this person?

This painting is a self-portrait by the Austrian artist Oskar Kokoschka which he made when he was twenty-seven years old. Early on in his career, Kokoschka received numerous commissions for portraits from patrons in Vienna, mostly writers. Although he devoted most of his career to being an artist, Kokoschka was also a writer and teacher. Kokoschka made the following remark in a letter that he wrote to The Museum of Modern Art forty years after finishing this self-portrait: It is a representative example of my work of that period, the student may learn from it to see with his own eyes how the self becomes a constant in a self-portrait that does not . , tching e 5 Image Five), an ( Oskar Kokoschka: the Early Portraits from Vienna from the Early Portraits Oskar Kokoschka: Self-Portrait with Hand on Forehead 6 (New Haven,(New Press, Connecticut: University 1992), Yale 120. Ask why or why not. . (London: The Bank South Centre, 1995),12. Käthe Kollwitz ive in the avant-garde scene that surrounded her. that surrounded scene in the avant-garde ive of Instead t c .do you see? and differences sorts of similarities What elf-Portrait with Hand on Forehead a S e b ” . o artists in smaller circles, connection maintain a strong to she preferred ncerns to a larger audience. a larger to ncerns with Kollwitz, resonated message Klinger’s o r Self-Portrait (New York:(New Neue Galerie, 2002), 164. 4 cial c in the best periods in history. our century, [In] degen- arts the figurative have Käthe Kollwitz: Artist ofArtist Käthe Kollwitz: the People hose not t e ith othe b ger number of people. with her approach. or disagree Ask them if they agree ing so o itz c t w l d ling w rt always the artist between be] an understanding as there must and the people such ed edition of an image, as most artists did. Instead, of prices keep to in order prints her larger audience. larger ol ompare Käthe Kollwitz’s Käthe Kollwitz’s ompare ainting. Ask why or why not.

to Kokoschka’s to Kokoschka’s [A use of the wretchedness to erated galleries. exhibition “the wretchedness to meant when she referred Ask your students what they think Kollwitz of exhibition galleries display their work for the public to see in museums and galleries. Artists traditionally they have seen works of art other Ask your students to consider some of the places where Ask your students to compare Kollwitz’s comment with Kollwitz’s Ask your students to compare accessible more her works of art choice to make Ask your students to consider Kollwitz’s to a lar to reach works of art in order more Ask if they think that an artist must necessarily create a Ask if they feel that the way Kollwitz represented herself communicates the idea that there communicates the idea that there herself represented Ask if they feel that the way Kollwitz is a connection between art and its audience K C How would you compare herself? about has chosen to express do you think Kollwitz What you have seen? with others self-portrait Kollwitz’s printmaking choosing primaryBy as her means of art, making more make could Kollwitz vary even after years when age,vary years after even life, of the persona changed have ambitions creator. the self-portraits of in the sense painted All my were stock-taking, in the view of estimating individuality. to express. is trying Kokoschka what they think Ask your students or Ask if they support with his statement.disagree their ideas about this comment changes Kokoschka’s Ask if p unicat Hildegard Bachert,Hildegard et al., in Elizabeth Prelinger Griffith,Fiona Letter from Oskar Kokoschka to Dorothy Miller, Dorothy to 4, Oskar Kokoschka October from Letter 1953. G. Tobias Natter,

f with social issues, current touch suggests: following as her statement and Berlin, 1909–1914 5. 6. 4. ming with public;a larger be elitist and out to artistic the developing movements she considered o • • • • From an early age,From an artist. in becoming an interest expressed Käthe Kollwitz During the late century,nineteenth men, admitted only art the state-run in Germany academies so Kollwitz art women. a private for school attended 1890, In in painting studies after up her gave Kollwitz ofseeing an exhibition (1857–1920), Klinger Max prints by a German artist who advocated the use of printmaking and drawing, copies, in multiple can exist which as a means of com- m • • printmaking.and she began pursue to ofcopies people. more to available work her practice She did not the tradition of printing a limit affordable, of copies numerous she produced a single image. also published her Kollwitz in periodicals,work support to various posters social causes. and she created occa- People of their copies sent sionally sign them. so that she could her prints to •

LESSONS 12 LESSONS 13 s 7 , this print made after Nolde between Nolde’ e (Image Six). students Ask your Prophet and etching, make to and learned how 8 Prophet Ask them if knowing about how . (Boston: of Museum ArtsAngeles in association with Fine the Los intaglio Prophet considering that the artists used two different considering that the artists used two different , , 15. Nolde: The Painter’s Prints The Painter’s Nolde: another look at e by the artistby Nolde. Emil Titled Self-Portrait . inally named Emil Hansen. Nolde name to his family changed later He ig r ocesses ollwitz’s ollwitz’s woodcut rimal beings that scientific research already rejected long ago, rejected long already rimal beings that scientific research and that are, was o Nolde: The Painter’s Prints The Painter’s Nolde: e and K r, because the group at odds he felt with departed from his colleagues. he eventually old e v e hen they look at this image.hen they look at this Ask why they chose those words. hen ask your students what words they would choose to describe the person’s expression. person’s they would choose to describe the what words hen ask your students w printmaking pr what they see in the image.what they see in the that come to mind descriptive words Ask them to think of three w Ask your students what they think Nolde meant by this statement. Ask them if his comment supports their ideas about his work. not. Ask why or why Nolde made the work of art changes their ideas about it. Nolde made the work of art changes their they would mak Ask your students what kinds of comparisons Prophet Ask your students to tak Ask them what they see that makes them say that. that makes Ask them what they see “prophet.” the word Ask your students how they would define their def- them compare Have painting.inition to Nolde’s way Nolde chose to depict a prophet. Ask what they think of the T than in a museum, in a public park, sculptures such as large school or in the at murals library, in books. reproductions and a work of art changes think the meaning of Ask if they it is displayed. on where depending or why not. Ask why look at Emil Nolde’s a few minutes to Give the class o oodcut prints remained one of one oodcut prints remained methods of his preferred art creating because of of some Benson etBenson al., Timothy O.Timothy Benson, et in Benson al. County Museum ofCounty Museum Art, 1995), 37. 8. 7. • • group, with the Brücke printmaking was briefly skills involved with he exchanged Nolde where members;the other he taught about them woodcuts. Nolde, artists, with along Brücke other the art. in non-Western an interest shared H • his agricultural to was strongly attached roots,Nolde urban with clashed which the group’s cultural sensibility.“.. described his art He as . a rural art qualities in all [that] believes human and in the p indeed, be within found to the city no longer walls.” recovering from a serious illness. from recovering of issues address him to illness inspired His spirituality in his work, passages. Biblical to he began and making references this print, creating to Prior of began a cycle Nolde of the life on religious paintings centering Christ. Jesus Emil N • ofin honor his birthplace, of in the state town a seaside Schleswig-Holstein, Denmark.Although of a region on bordering northern Germany a farming family, he came from Nolde an artist. factory becoming in a furniture before worked that making explained once He w the same skills and delights with it shared making. furniture example, For to he chose his woodblocks. and knots from in his prints the inconsistencies include described once He ofthe process accidents.” (and happy) “controlled as making woodcuts • This is a image • Ask . , by was painted Image Seven) and ask Farming Generations ( (Image Four). (Image Kokoschka’s Hans Ask them to pair up with a aph. Self-Portrait How do the two paintings differ? ? was taken by August Sander.August by was taken Shown in the pho- . , Hans Tietze and Erica Tietze-Conrat and Erica Tietze Hans Self-Portrait tzes fled Germany and came to the United States. the United and came to fled Germany tzes In ie ans Tietze and Erica Tietze-Conrat H ect them to look closely at all the elements of this image and his the T moment to look at the photograph titled moment to look at the photograph Dir . n, a e io e arming Generations F in their best church attire and would therefore most likely be receptive most likely therefore and would attire bestin their church cupat d c Ask them what they notice about the photogr esse azi o dr e Hans Tietze and Erica Tietze-Conrat and it has remained in the Museum’s collection ever since. ever collection in the Museum’s and it has remained to spend a few moments looking closely at the image.to spend a few moments what Ask them to describe ould b his bicycle and set offhis bicycle of a few to Westerwald, in the towns of that many aware the fami- ing the N w er to help finance the cost of the cost help finance to er relocation, their sold this painting, the Tietzes they which how your students Kokoschka’s how your students Kokoschka’s o hem hey see in the painting. in the painting. them what they can tell about the two people Ask Tietze and Erica Tietze-Conrat

classmate to make a list of similarities and differences between this picture and Kokoschka’s between this picture a list of similarities and differences classmate to make painting Ask your students what they can determine about the people in the photograph. Ask them who they suppose they ar Ask your students to tak (Image Eight). Ask your students what kinds of similarities they can find between Ask your students what kinds of similarities Ask your students to take a look at the space around the two figures. a look at the space around take Ask your students to Ask how they would describe the space. S t t their gestures. Ask them to describe Ask your students if, based on what they see, between is a relationship they suppose there the two figures. say that. them they see that makes Ask them what to us about these people. reveals them what details they think the photograph d ans Tietze and Erica Tietze-Conrat were a married were couple. and Erica Tietze-Conrat ans Tietze Kokoschka They commissioned ur his photograph, called

r nt tograph is a farming family from Westerwald, tograph is a farming from family Germany. in southwestern an area During youth,Sander’s and small, farming communities many contained Westerwald family-run mines. he had opened his own photography this photograph in 1912 after took Sander in a suburbstudio of Cologne. his photographic equipment packed Sander One Sunday o lies • T • • H portrait, double paint their to home.their in they which kept art historians were The Tietzes work.and supported Kokoschka’s However, this painting in public, show to they refused ofregardless of in an exhibition inclusion for it borrow to attempts Kokoschka’s his work. D o up and carriedhad rolled with them. of The Museum the painting Art purchased Modern in 1940, • This painting, portrait a double called • • in 1909,Kokoschka his he completed before years four Throughout his artisticThroughout career, with most closely collaborated his wife, Nolde Ada. She often of helped and printed his work maintain fastidious him records his prints. 1926, In the settled permanently in Seebüll,couple birthplace. village a quiet Nolde’s near There, Nolde where they and museum a foundation established where a house and his wife purchased today. exhibited are works Nolde’s to having their portraits their having to taken.

LESSONS 14 LESSONS 15 10 . was unable Sander Farming Generations 9 , ed. Sander, Gunther trans. Linda . , or their own museums , Face ofFace Time Our (New York:(New Aperture, Inc., 1980), 17. either in books Citizensof Century Twentieth the “scientific objectivity” in their own words. include They should hat do they tell us? Gestures often communicate specific feelings or communicate often theyhat do us? Gestures tell aits they have seen, reate a self-portrait as you envision yourself a self-portrait envision reate as you years. in twenty-five twenty-five years from now. What do you think you will be doing? How do now. will from How think you years be doing? you do twenty-five What ourself in the Future (Image Four) ourself in the Future hka, sought of outside asylum Germany, while others, as Kollwitz, such es and w lf ur se August Sander: of Photographs August an Epoch, 1904–1959 osc August Sander: Citizens ofAugust Century,Twentieth the Photographs, Portrait 1892–1952 est ok our g e as K ine y or this activity,or small groups.Ask into students divide your a gesture create to group each h re affected by the suppression of the suppression by affected re political, individual, and artistic rights. artists, Some Ulrich Keller, hat ar F Ask your students to respond to this information.Ask your students to respond to compare Ask them with other family portr Ask your students to define other examples of photographs that they have seen.other examples of photographs your students to consider whether Ask scientific objectivity,or not they feel that the image represents on what they know based photograph.about Sander’s or why not. Ask them why Along withAlong his portraits of farmers,Westerwald the also photographed Sander writers, local or environment. home his photographs made sitter’s in the often Sander was also He photo album at home. or differences. Ask if they notice any similarities Ask them to explain their response. Sander’s frequent trips through Westerwald inspired him to begin him to ambitious endeavor an inspired Westerwald trips frequent through Sander’s main the same? C e Robert Kramer, Robert ou think you will have changed? Do you suppose certain suppose characteristics of Do you changed? willou think you have yourself will e uc mag 10. 9. 3. Banned Art (Image Seven) During the 1930s, in Germany. party power to rose the Nazi artists and intellectuals Many w s 2. The Meaning of Body Language (Image Seven) W messages. instance, For hello. say a hand to wave we can be ambiguous, gestures Some leading differently. them interpret people to the following:that communicates happiness, sadness, fear, anger. I y r ACTIVITIES/PROJECTS 1. Looking at Y • • this self-portraitCompare did earlier. with you the one similarities or any notice Do you differences? to complete the project during the project lifetime, his complete to his son, in 1980 but Gunther, a group published of photographs the in a book called artists, bankers, miners, lawyers, performers, circus musicians, beggars, gypsies. and goal His social and as possible German types professions as thoroughly capture different was to from strata. The organization of of own sense Sander’s was based these images on eco- Germany’s and sociologicalnomic structure at the time, scientific with and was not associated any research. than following Rather a typical social order, hierarchical own philosophy Sander’s and nature, man between connection espoused the strong privileged farmers and therefore because of the earth. ties to their close very particular of the composition about the photograph; be had body to entire the subject’s the knee up.visible from in the photograph else cropped or that these com- believed Sander of maintained a level positional choices scientific objectivity in his work. around 1911 that would span over forty years. over span that would 1911 around A selection of these portraits pub- first was lished in 1929, of as a volume sixty photographs titled Keller (Cambridge:Keller The Press, MIT 1989), 28. in e se t ’ don . Alternatively, Landscape with your selected ? canvas in his painting e Farming Generations Citizens of Century Twentieth the Farming Generations (Image Seven), the artist used his fingernails s or evealing the bar r Compare Sander’s Sander’s Compare the picture? Take some time to discuss what you discuss what you time some to Take the picture? f aph with Sander’ ing o Faces ofFaces Time Our tt lection/depts/photography/blowups/photo_009.html atch marks on the surface of the canvas. left Matisse deliberately the se ol t your photogr ou rg/c e ab Hans Tietze and Erica Tietze-Conrat l l graph as well. further steps away the photograph ten had taken Sander Suppose ma.o e o Web site,Web instance, thoughts For about his work? your what are think that he you do eate small scr a hot ou t hotograph? What do you think you would see? would think you you do What hotograph? .mo escribe what happened when this picture was taken. when this picture escribe what happened m

portrait. of it? How do you think the medium of each work affects your interpretation Explain your ideas. specific this idea further by taking into consideration can explore You techniques the artist used and choices he or she made. instance, For in Kokoschka’s painting to cr spaces between the marks of paint, Consider your own experiences taking pictures, you have seen. or other photographs Return you chose of your family or friends for the class discussion earlier.to the picture How would you compar this lesson or another lesson in this guide. from Choose another portrait Consider the type of medium the artist used. D details:Consider the following in the the photo? How many people were took Who they? Did everyone pose, and who were picture was the Where did people move around? or do you Why included in the photograph? details were other What taken? picture included? think they were ow that you have spent time looking at a few photographs from one of one spent time photographs looking at a few from have you that ow books or Sander’s hoose two or three photographs to compare. photographs to three or hoose two similaritiestheir List and differences. o

• • 5. Faces of Our Time (Image Eight) ofObtain a copy Sander’s Ask your students to bring a photograph to of students your Ask with friends. or family taken themselves Students of the rest to picture their show to can volunteer discussion. for the class • • the p than he actually did. the scene from change point would vantage think this new you do How the p N fr his goal ofachieved of a record creating him during his lifetime? the people around remained in the country ofremained fear for against members. family repercussions the Research impact of during period this in Germany the artists on political events in this guide. an As extension, of examples consider impact their and artists. other on political other events Portraits (Image Eight) 4. Group you can view Sander’s photographs on the following Web sites: Web photographs the following on can view Sander’s you www www.getty.edu/art/collections/bio/a1786-1.html www.metmuseum.org/special/August_Sander/Germany_images.htm C would people in the photograph? or about the person How you tell image each does What example, the photograph? describe when made For he took Sander the decisions you what can y

LESSONS 16 LESSONS 17 . , 11. Faces ofFaces Time Our aphs? August Sander: of Photographs August an Epoch . is the effect of looking at this image by What oup of photogr hy? W 11 acteristics of this person that you excluded? Explain. acteristics of this person Farming Generations someone you know, you someone as a friend member. family or such make you As f received commissions to create portraits create to of commissions received well. people they not know do e esent these details? v ait o (Image Eleven). to consistent according made were photographs Sander’s r epr t certain char r sus looking at it as part of a gr o e ists ha p t rtrait, track of keep the way. along make you the decisions a o ar ther e y purpose of of the experiences compare this activity to students enable is to a creating e hat sorts of things do you want other people to know about this person? How did you to know about this person? hat sorts of things do you want other people ow would you describe the system Sander used to organize these photographs? these photographs? the system Sander used to organize ow would you describe earn more about critics’ responses to Sander’s work. to Sander’s about critics’ responses earn more example, For Thomas the writer compositional choices,compositional as the arrangement such of objects or in space. figures eat Letter from Thomas Mann to Kurt Wolff, Kurt to January Thomas Mann 6, from Letter 1930, Kramer, in guidelines that he had established;guidelines either from appeared that the subject he made sure head to toe. or from the waist up What types of other choices did you make? What choose to r W Ar observation, direct from your portrait Did you create memory, from a photograph? or from Why? Take another look at Take Mann once commented: with ideas and those of other writers Mann’s you suppose Mann meant? Compare do What your own ideas. with these statements? or disagree Do you find that you agree H L This of collection of lovers for photographstreasure-trove is a and unpretentious precise opportunity and an outstanding of the study physiognomy for types human as stamped and socialclass. profession by at Collioure itself ver an Portrait ofPortrait Know You Someone ow do you suppose knowing this information would influence your work? How would you would How work? your influence knowing this information would suppose you do ow r he f our p 11. Suppose you were an artist and were asked to make a portrait make to of asked an artist and were were you Suppose not know. do you someone kinds ofWhat a portrait? create to in order about this person know to like you things would H certain characteristics ofrepresent in the portrait? this person Yourself Looking at a self-portrait.Create working, While the types consider of choose. you materials track Keep o • M • • • A C • 6. Portrait versus Self-Portrait T portrait of and a self-portrait. acquaintance a close • • • Find out more about some of about some more Find out in photographs the other included y the portraits you created for this activity? In your view, you created the portraits these sense to make would it make ortraits before or after looking closely at the portraits in this lesson? Why? this lesson? in or after looking closely at the portraits before ortraits hink about the works of art that you discussed in this lesson.hink about the works play a role these portraits Did n

i p T What did you include in your self-portrait—your face, in your self-portrait—your did you include What why? your body—and you describe your pose? How would a title, to give your work were have for you? If you do these choices kinds of meanings What you call it? what would

• • •

LESSONS 18 LESSON THREE: Artists’ Journeys

19 L E S S O N S

IMAGE NINE: Paul Gauguin. French, 1848–1903. IMAGE TEN: Henri Matisse. French, Noa Noa (Fragrance) from Noa Noa. 1893–94. 1869–1954. Study for “Luxe, calme et volupté.” 7 One from a series of ten woodcuts. Woodcut on 1905. Oil on canvas, 12 ⁄8 x 16" (32.7 x endgrain boxwood, printed in color with stencils. 40.6 cm). The Museum of Modern Art, 1 Composition: 14 x 8 ⁄16" (35.5 x 20.5 cm); sheet: New York. Mrs. John Hay Whitney Bequest. 1 5 15 ⁄2 x 9 ⁄8" (39.3 x 24.4 cm). Publisher: the artist, © 2005 Succession H. Matisse, Paris/Artists Paris. Printer: Louis Ray, Paris. Edition: 25–30. Rights Society (ARS), New York The Museum of Modern Art, New York. Lillie P. Bliss Collection

IMAGE ELEVEN: Henri Matisse. French, 1869–1954. IMAGE TWELVE: Vasily Kandinsky. French, born Landscape at Collioure. 1905. Oil on canvas, Russia, 1866–1944. Picture with an Archer. 1909. 1 3 7 3 15 ⁄4 x 18 ⁄8" (38.8 x 46.6 cm). The Museum of Oil on canvas, 68 ⁄8 x 57 ⁄8" (175 x 144.6 cm). Modern Art, New York. Gift and Bequest of Louise The Museum of Modern Art, New York. Gift and Reinhardt Smith. © 2005 Succession H. Matisse, Bequest of Louise Reinhardt Smith. © 2005 Artists Paris/Artists Rights Society (ARS), New York Rights Society (ARS), New York/ADAGP,Paris Noa Noa . ocesses of printmak- Ask them how they (Image Nine).(Image begin Then the in this work. who them they Ask think Study for “Luxe, calme et volupté” e information on the pr se e y . Ask them to describe the main similarities or mor hat the (F Noa Noa (Fragrance) (Fragrance) Noa Noa . w adical and unusual use of artistic materials . e ib Noa Noa escr d o t m and what they might be doing. using five adjectives e ht b asking the y Tahitian for “fragrance”), for print in book to form alongside he had which intended Tahitian b n es mig ts ( cu , see www.moma.org/exhibitions/2001/whatisaprint.) d o

(Image Ten)(Image print with Gauguin’s Ask how they think Gauguin evoked the idea of “fragrance” the idea of Ask how they think Gauguin evoked in this work. they sure Make give examples to back up their ideas Matisse’s and contrast Have your students compare Ask your students what clues about Gauguin’s experience of Tahiti they pick up from they pick up from Tahiti experience of Ask your students what clues about Gauguin’s this image? Ask your students to look closely at the medium that the artist used. Ask your students to look closely at the medium would describe it, ing Students will discuss modern artists’ r by unusual inspired artists were Students will look at the ways in which modern artistic sources. Students will analyze modern artists’ interest in travel. Students will analyze modern artists’ interest and differences. o journey of 9,500 miles.After over Paris, to returning in 1893, the Gauguin created

• • w • discussio • 1891,In in Paris, bourgeois culture as a corrupt and decadent what he saw by disgusted the seek an unspoilt, to Gauguin decided artist Paul French society. simpler his Abandoning family, friends, and artistic in Paris, career Tahiti, to Polynesia, a voyage in French on he went a Tahiti. to traveling for his reasons explain poems to The book, however, was not published Tahiti, to return in 1901. until Gauguin’s in France IMAGE-BASED DISCUSSION look at to a moment students your Give • • the figur LESSON OBJECTIVES • INTRODUCTION and early of twentieth-century nineteenth- advantage artists took Late often in innovations rural or locations. exotic transportation to traveling by in part dissatisfac- their by Driven tion with the modern city, earthly artists par- untouched resembling sought many places out adises. these areas, In of the bustle from away the modern city, focus on to able artists were firsthand; and observe nature work their because of this, radical artistic many experiments ”modern” the most rural in occurred and least of settings. had an effect certain on artists’work. urban the environment Escaping from evoke to order In ofthe sensation being in a harmonious, warm, tranquil and setting, coastal the for that was suitable example, for brushwork with experimented vibrantMatisse sketchy and colors setting he painted. in which Similarly, Kandinsky,Vasily artist the Russian in the working ruralquiet setting of Murnau, city in the bustling his home of from away Munich, experi- the unspoilt rural that reflected environment. and subject with matter mented colors

LESSONS 20 LESSONS 21 : Invitation to the Voyage the to Invitation (Richness, calm, and pleasure), was inspired Luxe, calme et volupté agrances of amber; s skies ear r the waters ofthe waters the earth. l ague fr al the y f h esire, they ply o r e oug eilings would there be, there eilings would ith the v ust thr ors deep as the sea, deep ors w would glow withinwould our glowing chamber. r r d y ithin those othe ir e he l roffering their perfume their roffering our least d ftl My child,My sister, my dream seem all sweet things would How and long, slow love there And and die among love There that glimmer suns there Drowned air Through cloud-disheveled W The title for this work, The title for Of eyes treacherous your Richness, calm and pleasure. wears that Furniture T Gold c M should address but Nothing loneliness, The soul’s Richness, calm and pleasure. See, the swells from sheltered in the still canals There satisfy is to It Y Flowers ofFlowers bloom rarest P —The sun at close of at close —The sun day the fieldsClothes of hay, ix ithe here, grace is nothing else but and measure, there o Were we in that kind land to live together, live land to in that kind we Were you, that image Those scenes weather. that sumptuous as appears me with a mystery such Move Henri Matisse painted this work, painted Matisse Henri work, a larger for sketch oil an the small in fishing village of Saint-Tropez, of in the south France, with the holiday on were and his family he where Signac. Paul painter One day, with an argument after Signac, Matisse,Amélie,wife his and a walk, for went Pierre son their of earlier an version painted during Matisse which this study. that version, In visible, are and Pierre Amélie only the edge of sitting by sea; the in this version, and food, blanket a picnic has added not only Matisse also a boat but and nude drying a swim. after women themselves tears. their shining through I behold them When T by a poem by the French poet Baudelaire, Charles French the a poem by by called hung— The walls all splendor in an Eastern tongue. native Speaking and secret sweet her There, grace is nothing else but and measure, there of ships that dream Those drowsy sailing forth; H S M . de as preparation for as preparation de nvitation to the Voyage,nvitation the to a Poem e: I ma lair h ailways affects their ideas c t e aude B epr. r was a sk Study for “Luxe, calme et volupté” 1850s; Ask why they think this might be c. . , d: Publishing, Blackwell 2003), 64. r o xf of Evil s (O r , also by Matisse. think changed Ask what they e w The Flo m y: 1900–2000 o fr 12 Theor me of sought his contemporaries locations out untouched (Image Eleven) in “Luxe, calme et volupté” t r Study for “Luxe, calme et volupté.” A or f , (unprimed) canvas, an unprepared paint onto oil applied Matisse y ion to the Voyage the ion to ud t atisses in Collioure in June 1905 and wrote to his fellow painter Maurice painter his fellow to 1905 and wrote in June atisses in Collioure 13 isse and so S itat v at onment in n I M the M d Richard Wilbur (New York: (New Press, Bulfinch Wilbur Richard 1997). elaire, rison and Paul Wood, rison and Paul ar Matisse’s Matisse’s ine aud ans. r t Landscape at Collioure , les H les B ed ast, Gauguin, r material between the strokes of the strokes between material paint,“finished” a this painting is considered work. By at sense of envir ain jo har har r dows very clear.” dows e r

with Ask them how Matisse’s use of color creates an atmosphere. of color creates use Ask them how Matisse’s Ask if they think the atmosphere Landscape at Collioure C C nt Matisse conjured with color is like the atmosphere Baudelaire created with words. created Baudelaire the atmosphere is like with color Matisse conjured Ask your students to consider Baudelaire’s poem.Ask your students to consider Baudelaire’s Ask them how they think Matisse created a Matisse’s and contrast Ask your students to compare Ask your students how knowing this information about the new r Ask your students how knowing this information Ask your students how they think Matisse attempted to create ”richness,” they think Matisse attempted to create Ask your students how “calm,” and “pleasure” in his painting. that support their ideas. Ask for examples about the painting. In hyacinth and gold: hyacinth In land is rolled the Slowly Richness, calm and pleasure. in the way the artist used paint to describe a scene in the way the artist used paint to describe w e

lust o a Il another painting,another of as a finished work be displayed to intended and was never art. 13. 12. de Vlaminck about experience, his Vlaminck de “.. that he had discovered saying . of concept a new light, in the following: consists which the negation of shadow. Here, the lightis very strong, the sha In using paint in nonnaturalistic colors, with the tube and often from sometimes directly quick, strokes. sketchy the fact of that some Despite untouched, was left the canvas showing r c In May 1905 Matisse traveled to Collioure, to traveled 1905 Matisse May In border. a small village near the French-Spanish the location, had suggested Amélie wifeHis up nearby living and had she grew family since there. until early September, in Collioure stayed The Matisses had time which Matisse by canvases, about fifteen created forty watercolors, drawings. hundred one and over André D • • • • this work, painted Matisse When the South of tourist was a popular destination. France The and easy. quick travel the South made to Paris artists, from For railways new the distinctively brilliant light of especially tempting. were and the opportunity the South paint outdoors to Lik • Then the canals,Then entire at last the town a sea of under Sleepward fire. gentle There, grace else is nothing but and measure, there by the modern world,valuingby city-dwelling vaca- regular unspoilt landscapes in the same way did. tioners

LESSONS 22 LESSONS 23 al culture al culture of a rur Landscape e Landscape at Collioure ed the atmospher as starting points, students your have by Vasily Kandinsky (Image Twelve). (Image Kandinsky Ask them Vasily by . the work to support to give examples from Ask them icularly dramatic region that he and three and mountainous t Landscape at Collioure par a Ask them to describe the main similarities and differences. Ask them to describe the main similarities . Picture with an Archer lps, A ian in his native Russia. in his native Picture with an Archer when he did. if he had Ask what they think the work would have been like ar v w udents create their own “travel journal,”just as Gauguin did,based journal,”just “travel own their create a real either on udents a ant-garde artists who lived in Munich visited regularly between 1908 and 1911. visited between regularly artists in Munich ant-garde who lived v th B our st a y mulated, had visited the small while rural was similar to Kandinsky that towns Murnau icing la r t e c at Collioure v to look at it carefully for a few moments.to look at it carefully this painting with Matisse’s Have them compare continued working on it. Ask your students to think about how Kandinsky evok Ask your students to think about how Kandinsky Show your students Landscape at Collioure Ask them to think about works of art they have made at school or at home. works of art they have made at school Ask them to think about Ask them why they stopped when they did. Ask if they think they could have stopped earlier. might have stopped painting Ask your students to consider why Matisse Ask your students how they know when they have finished a painting,Ask your students how sculpture, or other work of art. How does knowing this information affect your ideas about the work? affect your ideas knowing this information How does their ideas. or setting in a a r olonial rule.olonial wiped all traditions but Although were out, native an evoke to he attempted visit an imaginary on or one. their up to They whether not the visit on or should reflect lived expectations. what they were from was different the experience how They should consider expecting, based on, what expectations were their and whether visit not they or would again. ACTIVITIES/PROJECTS (Image Nine) 1. Gauguin in Tahiti of 125 years by significantly altered was a culture in Tahiti Gauguin found What French c in his work. and harmonious culture untouched of image Gauguin’s was Tahiti precolonial a Belgian an 1837 book based on largely by explorer, Moerenhout.Antoine Jacques Most of the reality of had to very works little connection Tahitian Gauguin’s that the Tahiti he experienced. H p • Vasily Kandinsky painted this work during a summer visit to a small town called Murnau in during visit called a small this work a summer Murnau town painted to Kandinsky Vasily the sou othe its local art, folk for Famous especially paintings glass, on the visiting which artists collected and e • • • discuss what makes a finished work of a finished work discuss what makes art. • • as Matisse’s described art such Some work critics have and historians paintingscanvas, used that filled to “unfinished.” theentire at the time were as Audiences varnished. often and were in naturalistic colors rendered and that were However, art later critics of discussed the idea “finished”and“unfinished”works of art as being something dis- modern. tinctively and Matisse’s this idea Using 15 . group. How Blaue Reiter Blaue om the work to support their ideas ic manner. look at an want us to did not Kandinsky alist ur , 89. ld in a nat They should give examples fr r . efinition with Kandinsky’s idea of idea withefinition Kandinsky’s abstraction. if them Ask they can o For instance,For a painting of saw he once and in an exhibition a haystack 4 1 ir d Art in Theory in Art the e to figure out what what out it depicts or story figure it tells;to rather, leave us to he invites in the w s y r mpar o thing oughout the twentieth century. Examples from MoMA’s collection that could be used that could collection oughout century. the twentieth MoMA’s from Examples and t f o e thr e

n Harrison and Wood, Harrison and www.modjourn.brown.edu/mjp/image/kandinsky/kandinsky.html Ask your students how they think Kandinsky’s ideas about abstract art are reflected in reflected art are about abstract ideas Ask your students how they think Kandinsky’s Picture with an Archer Ask your students why, based on the information given in these lessons,think the they images in the manner that they did. Blaue Reiter artists chose to create It was from the catalogue that I learneda haystack. this was was from It I was upset I had not recog- it.nized fashion. thought I also had no right an imprecise the painter paint in such to ould c sk your students to research the meaning of the meaning research to students sk your abstract art of looking at examples by abstrac-

hythm ofhythm the image. io include Joan Miró, Joan include Pollock, Jackson (www.moma.org/collection/depts/ and Piet Mondrian paint_sculpt.html). might these examples be thought Discuss why of as abstract, and why this kind of make to wanted the artists might have art. they would how students your Ask abstractdefine art, research. at in their looked they the works have judging by they how Ask w 14. 15. behind our attachment to the material world and immerse ourselves instead in the color and in the color instead ourselves and immerse world the material to behind our attachment r A t imag of works and other ideas their between connections any make art discussed in this guide. 3. Kandinsky Goes Abstract (Image Twelve) 3. Kandinsky Goes Abstract (Image “abstract” The word not depict describe the visual that do images is used or to ideas appear- anc • • was unable to recognize what subject the was. recognize to was unable remarked: He 2. The Blaue Reiter (Image Twelve) Reiter (Image 2. The Blaue of works and lives the Research artists other with associated the would you compare their work with Kandinsky’s? Look closely at work by one of one by at work closely Look with work their Kandinsky’s? compare you would artists these in the group. membership her or his and after before by affected work artist’s was the How being part of at connections Look dissolved? group the after did it change How group? this with artists other at the time, working artist as the Dutch Piet Mondrian.What such was dis- artists? Reiter about the Blaue tinctive an art in creating that described the essence, was interested Kandinsky rather than the exter- nal appearance, of in the world. things he saw of the influence to due This was largely Theos- ophy, be all in which things material would a future that foretold a spiritual movement destroyed, essence. their only leaving of This informed his intentions art an creating of necessity.” “internal

LESSONS 24 FOR FURTHER CONSIDERATION 25 isse e at M 16 tist’s daughter, tist’s is the ar (New York: of(New The Museum Art, Modern . moment and assume the pose of the figur a e ak T (72.7 x 59.7 cm). The InteriorYoung with a " 2 ⁄ 1 nterior with a Young Girl (Girl Reading) nteriorYoung with a I 23 Matisse in the Collection ofMatisse in the Collection of The Museum Art Modern x 8 ⁄ 5 ed his work in the following manner:ed his work dern Art,dern York. H. New © 2005 Succession iz o M f son is doing? How can you tell? ummar s um o ibrant and intense. fire. on a room the painting to One writer likened even v e Pierre Schneider in John Elderfield, in John Schneider Pierre Describe the figure in this painting in as much detail as possible.Describe the figure do you suppose What this per Think of five words you might choose to describe this painting.Think of five words Write them down. did Why your choices with those of your classmates. you select them? Compare in this painting.Why? does this pose suggest to you? What Expression to my way of way my to Expression of not consist thinking does upon a human mirrored the passion a violent by gesture. betrayed or face The whole arrangement of is expressive. picture the objects, or figures by occupied The place them, the empty around spaces the proportions, everything a part. plays is the art Composition of the manner arranging in a decorative atisse, Rights Paris/Artists Society (ARS),York New use e he figure shown in Matisse’s shown in Matisse’s he figure OR FURTHER CONSIDERATION OR FURTHER nc M 1905–06. canvas, Oil on 28 Henri Matisse.Henri French, 1869–1954. M Girl [Intérieur à la fillette Lecture)] (Girl (La Reading) o 1978), 46. Marguerite. the subject of was often family Matisse’s his work, portrayed playing at home reading. or music pose—looking with down head buried her in a book—sug- Marguerite’s moment. a private gests quietly, been reading have may Although Marguerite the bright articulate likeness, to applied her Matisse colors her, around as well as the objects and space ar 16. • T IMAGE-BASED DISCUSSION • ADDITIONAL WORK TO EXPLORE After completing the lessons in this guide, the lessons completing After a list of make to students ask your questions any of more or about one still have they may the artists. categories into questions their Organize their own research.so that they can conduct can include: Categories biographical questions; of about a specificquestions work art, the artist as why it and what made types such of materials the artist used; during place the that took event an historical regarding and questions lifetime. artist’s CONCLUDING QUESTIONS F work. s . TheoriesArt on Modern and Nolde’ s Landscape at Collioure and ok of art. on essays his personal The fol- , 1951; repr. B. Herschel Chipp, o b a , (p. 19). a list of similarities and differ- Make 18 for discussion or for a writing for or discussion for project. 19 d use es of a Painter t e o b , 37. N Matisse: His Art and His Public and His Art Matisse: His y f balance, of purity of devoid and serenity depress- or troubling o t ma chy, recklessness, of in works licentiousness or contemporary art, 17 Landscape at Collioure w lo anar ol is an ar e f Interior with a Young Girl (Girl Reading) ic atisse published Nolde: The Painter’s Prints The Painter’s Nolde: ns that f eam o ransforms itself freedom, into high into refinements. the coarseness Harmless M ou not io y n ubject matter, an art might which every be for worker, mental be or he businessman er, an appeasing influence, like soother, a mental like a good armchair something like uest it 1908, he hat I dr r n

Ibid, 135. etBenson al., Henri Matisse,“Notes Henri of a Painter,”in Ask them to explain their response. Ask your students to define art in their own words. with their their ideas them to share Ask their own statements with those of Matisse and Nolde.classmates and compare Ask your when you notice crass coarseness and brutality, crass notice coarseness when you yourself occupy then and painstak- long withingly precisely these works, reck- the seeming how will recognize and you suddenly lessness t worth anything. seldom are pictures Ask your students to consider the quotes by Matisse and Nolde. to each Ask them to respond ideas about art. views. artist’s or Nolde’s Matisse’s Ask if they support or differ with Ask your students if these statements help inform them about Matisse’ W Look back at Matisse’s Look back at Matisse’s I What is your reaction to Matisse’s statement? Does it change your initial observations of statement? to Matisse’s reaction is your What or why not? Why this painting? various elements at the painter’s disposal for the expression of the expression disposal for various at the painter’s elements his feelings. a picture In every part will upon it, be visible conferred and will the role play be it principal second- or ary. is detrimental. in the picture All that is not useful of A work art be harmonious must in its entirety; superfluous details would, for the mind of in the beholder, upon encroach the essential elements. ences between W ing s w fatigue. physical from rest to in which he q

18. 19. • 17. (Berkeley: of University Press, California 1968), 130. • • Nolde’s views are a study in contrast: views a study are Nolde’s ACTIVITY: ARTISTS ON ART ARTISTS ACTIVITY: ofMany in art issues about current the artists as well as about frequently wrote in this guide owntheir art. and Nolde. Matisse by following the statements read students your Have T • • lowing passage describeslowing passage of one his views art: on

FOR FURTHER CONSIDERATION 26 FOR FURTHER CONSIDERATION 27 at e . the activities in and lessons Use Consider what it might have been lik ent art exhibition. your opinions of are What (www.nytimes.com). of one from should choose Students the eporter covering a curr r an art critic in the year 1913. Modern Art and Ideas 1: 1883–1900 Ideas and Art Modern a Modern Art, Modern York, in this an artwork and locate was included that New e e f um o use The New York Times York The New ally. to a have affected the way people might have responded How would these factors he M Imagine that you ar Imagine that you ar the artwork, and why? Ask your students to research other artists associated with Fauvism and Expressionism who and Expressionism with Fauvism other artists associated research Ask your students to included in this guide. not are Ask them to select a work by one of these artists and compare it with a work in this guide. similarities or differences. Ask if they notice any Ask why they identified as part of the same group. think the two artists were students to locate writings or interviews of other artists they have studied, or interviews of other artists they have students to locate writings and to compare art with their own ideas. the artists’ opinions about socially, living and what was going on the time in terms of how people were politically, and cultur work of art at the time? isit T re there any details you see now that you didn’t notice earlier? Have your ideas about this ideas your earlier? Have notice didn’t that you see now details you any there re ique, selected. they about the work have they opinions their should explain If they wish to Refer your students to to students your Refer work changed? Why or why not? why or Why changed? work of the works Consider viewing. are art you the one installed around com- you would How together? be exhibited to chosen think they were you do Why the works? pare RESEARCH PROJECTS Looking Back CLASS TRIP V guide. looking at the actual work, are that you Now and scale. think about its size would How in the classroom? saw you that with the reproduction in the Museum the work compare you A • • WRITING PROJECT: BE AN ART CRITIC BE AN ART WRITING PROJECT: of the role assume students your Have art critic and write an article a local newspaper. for They of one choose should and write in this guide the works a review. part As of cri- their t see samples of critical reviews, the arts to section they of can refer newspaper, major any for example • following scenarios: that guide to introduce your students to some of some to students your introduce to that guide and during era the the artists before active ge cities such as . after career the artist’s Follow some prominent American artists at this time? Why were they were American artistsWhy at this time? prominent some rk was made. disagree with agree or Do published opinions you o e r Modern Art and Ideas 2: 1893–1913 and Ideas Art Modern e early twentieth century. early twentieth ho w o W ime the w . y nth t e e auss. Dance: the popularity of the café-concert and the cabaret. (Many historians t man r Str active during this time and writers who were influential to the artists in this guide, who were active during this time and writers mpare and contrast one ofone and contrast mpare artist another by with in this work these works a later s d o nine ound the t Ge C e r ork in as much detail as possible and include reactions from art from critics reactions historians or detail as possible and include ork in as much ar minent? minent? m ist.

Paris and Vienna, and Paris and the connections between dance and visual art. instance, For Kokoschka a popular cabaret,frequented or dance hall,Vienna, in Fledermaus. called the Cabaret There, of the time,dancers he saw many performances by popular Duncan.) such as Isadora for example, Émile Zola, Charles Baudelaire,Tolstoy, Sigmund Freud, Leo Friedrich Nietszche, Arthur Schopenhauer,Thomas Mann, Hauptmann. Gerhard Artists in other disciplines. Music:Wagner, Gustav Mahler,Arnold Richard Schönberg, Richar have written about the popularity of dance during the early 1900s in lar Writer As partAs of research, your of works two or one choose Americanartist. art an by Describe o t o

r f this work? Explore connections with: connections Explore • The artists featured in this guide worked during an era ofThe artists worked this guide in featured in artistic great accomplishments culturally rich environments. art other forms during explore era the students of your Have the lat • p the w fr o CONNECTIONS ART LOOKING AT AMERICAN HISTORY LOOKING AT during States this period with of that the artisticthe United in Compare climate France and/o LOOKING AHEAD Select of one the artists in presented there.presented of some between connections look for to students your Ask the artists fea- in both guides,tured trace artistic to influences, in order political and cultural common interests, and whether not certain aspects or of had a lasting influence. an artistic movement guide. Do you notice any similarities or differences? Were there any factors that played an that played factors guide. any there Were similarities differences? or any notice Do you important work, in their role example, per- I) or (for events as historical such War World work? the earlier artist’s to people react did other How experiences? sonal 1913. kind of What the mediums used by Describe artwork the different she make? did he or ar

FOR FURTHER CONSIDERATION 28 GLOSSARY 29 2" x 16 ⁄ 5 ruppe Brücke, rg Künstle : r lishe ub the German Expressionist move- the German Expressionist P ig Kirchner. German, 1880–1938. w ud nst L est and most authentic was to be in the found was to est and most authentic nsignia for the manifesto ofnsignia the manifesto for the Künstlergruppe Er (12.5 x 5.1 cm). I Brücke. 1904. Woodcut. Composition: 4 Dresden. Printer: the artist, Dresden. Edition: unknown. of The Museum Art, Modern York. New Gift of J. B. Neumann, 1941 at its pur n essio r xp rtion of about anguish modern urban society. express reality to These o lt that e e f and of life drawing from illusionistic representation. oups f o r ly distorted and exaggerated forms in German medieval and exaggerated distorted art,ly African and Oceanic n io est in the dist r he Blaue Reiter was formed in Munich in 1911 by the Russian artist Vasily Kandinsky, the Vasily artist the Russian in 1911 by was formed in Munich Reiter he Blaue oth g ve, the art since trained that academies most of the these artists on focus a strong placed ming dit e The Brücke, students, architecture young four in 1905 by in Dresden founded Ernst T B LOSSARY e a r Brücke (the Bridge) and the Blaue Reiter (the Blue Rider): (the Blue Reiter (the Bridge) and the Blaue Brücke up of was made ment of groups two artists, (the Reiter (the Bridge) and the Blaue the Brücke Blue Rider), 1905 and 1914. between in Germany active were which com- Both were groups mitted of the expression to feelings, internal extreme experiment with led to them which bold, colors, nonnaturalistic forms, distorted and dramatic compositions. However,methods their of very different. were artistic expression Kirchner,Ludwig Erich Heckel, Schmidt-Rottluff, Karl Bleyl, and Fritz with is associated an int artists sought violent out of clashes means of and dynamic color expression, as is demon- strated Kirchner, by the woodcut by shown below, was used as the insignia which a Brücke for in 1906. manifesto Kubin, artistAlfred Czech Marc. and Franz and the German artists Gabriele Munter The artists, Reiter Blaue than the intellectual in approach and more generally older who were radicals, young art to Brücke’s making. approach with mystical a more concerned were se art, art and folk art and the of children. especially was an radical influence such claim To mo t G ain were among a group of a group among ain were artists who at dif- French r e ndré D A edominantly landscapes ofedominantly city char- views and rural scenes—were r isse and at ists—p serious art at the time. he had created, the term relish seemed to Vauxcelles t ing was unique because the works of becauseing was unique the works artists less-established and younger M to request,to for, a request or of a work art be produced. to d tt i e r nr e type of a marks onto metal instrument make using a pointed print to by made type of“ground” applying first print a by that is made coating) (an acid-resistant e is created by running the plate and paper through a printing and paper running through the plate press. by is created infor- more For a a he se H e these ar re exhibited in a room along with along a lone, in a room exhibited re rather traditional sculpture, the prompting T nsid e neral public. in 1903, Founded environ- such one represented the Salon d’Automne y o France, century, nineteenth up until the late the sole opportunity artists for exhibit to e es: b w v lection of Salon), (Fall paintings at the Salon d’Automne recent their in Paris. The paint- s s nt. n

ent points in time ent had studied with teachers, the same friendships, shared traveled or I In the 1890s,In and exhibitions German artists the state-controlled many withdrew from r se

au cterized by bold brushstrokes of bold brushstrokes by cterized primary and secondary colors. paint- The brightly colored e appeared alongside those ofappeared artists well-known and Old Masters. Intaglio: F Commission: Etching: with that has beentreated a wax-based ground. plate copper a into is placed the plate When vat of acid, portions the exposed through the acid bites of the plate. is inked, The plate and an imag types different mationon of printmaking, at www. a Print? Is What site Web visit the exhibitions/2001/whatisaprint.moma.org/ had the public been an annual, through to work their called the exhibition state-sponsored Salon, a juried held in spring. exhibition the changing artistic to of response climate In the century, nineteenth late venues, artists exhibition sought alternative escape the rigid both to ofstandards of audience a larger to work their show and to Academy the French and patrons the g me and his comment ultimately branded Matisse and his colleagues. branded Matisse ultimately and his comment d’Au- the Salon Following oftomne 1905, of at the center themselves found the group attention. organized their ownshows, their organized “Secessions.” known as to them enabled This independence been in line with contemporary taste, not necessarily have that would works exhibit and the traditions of from away as a breaking was seen work that their ensured the art academies they had attended. group, the Brücke information on more (For exhi- please see online the at www.moma.org/exhibitions/2002/brucke.) bition f studio. in the same worked cases even in some together—and 1905, In exhibited this group a ing a ing the among “Donatello was like that the sculpture comment to Vauxcelles art critic Louis (wild beasts).”Thefauves vibrant color, rapid brushstrokes, of lack and illusionistic imagery of(the illusion artistic such through devices reality created as shading and perspective) of the work made Matisse, Derain, what on attack a ferocious look like and their colleagues was c to a metal plate.to types The artist use different can then of the ground remove special to tools they desire,wherever in acid. is submerged and the plate the exposed into The acid bites

GLOSSARY 30 GLOSSARY 31 What Is a Print? What Is type of carving print by made of a block onto image an with wood a sharp a at www.moma.org.exhibitions/2001/exhibitions/whatisaprint/flash.html Woodcut: instrument,gouging or as a knife tool. such with and printed inked a roller is then The block dampened paper,onto a printing by hand or by either that can be accomplished a process press. types different information on more ofFor printmaking, site Web visit the parts of the plate. roller.or up cloth using a rolled the plate to applied is then Ink The ink areas, the exposed on only stays an image. creating dampened The is printed onto image paper using a printing press. . . Milan: . Cologne/London/ . York: New Press, Tabard Nolde: The Painter’s Prints The Painter’s Nolde: .York: New of The Museum Expressionists “Primitivism” Art in Twentieth-Century eles: of County Museum Angeles Los Art .York: New Arts Collection, Fine Alpine ng A os German Expressionism: Art and SocietyArt German Expressionism: L . German Die Expressionism: and Der Brücke Blaue . York: New Wittenborn, Schultz, Inc. 1950. cape ands Cambridge: Press, Cambridge University 2000. . L e v au . York: New Harry N. Abrams, 1975. . London: Thames and Hudson, 1991. The F xpressionism The Fauvist Painters The Fauvist ubin, ed.York: of New The Museum Art, Modern 1984. Fauvism E “The Wild Beasts”: Fauvism and Its Affinities and Its Fauvism Beasts”: Wild “The Wassily Kandinsky: 1866–1944, Kandinsky: Wassily A Revolution in Painting The Fauves Fauvism: OriginsFauvism: and Development liam R il Judi (ed.). Judi W London:Books, Jupiter 1983. . 2). on: of Museum Arts, Fine of County Museum Angeles in association with the Los Art, man, e

e ol. ELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY ELECTED eiter ompiani; London: Thames and Hudson, 1997. ehr, Shulamith. ost

r B B R and Abbeville Press, 1990. Giry, Marcel. 1976. Gordon, Donald E. Expressionism,” “German in Herbert, Barry. Reiter,” Blaue “Der in MONOGRAPHS Ackley, S., Clifford I. Victor Carlson, O. and Timothy Benson. (v 1981. Whitfield, Sarah. Boudaille, Georges. Expressionism,” “German in B 1995. Düchting, Hajo. READINGS ON EXPRESSIONISM Barron, Dube. Wolf-Dieter and Stephanie Diehl, Gaston. READINGS ON FAUVISM Elderfield, John. Art,Modern 1976. F S Duthuit, Georges. New York:New Taschen, 2000.

SELECTED BIBLIOGRAPHY & RESOURCES 32 SELECTED BIBLIOGRAPHY & RESOURCES 33 . eley: k r e B . . York: New The . York: New Da Capo . Boston: of Museum Arts, Fine . Haven, New Connecticut: Yale . Ithaca, York: New Cornell University . York: New Hall, Prentice 1997. rk: Rizzoli, 1994. .York: New of The Museum Art, Modern o Y . Oxford: Library, Heinemann 2002. Käthe Kollwitz w e N . atisse dern Art: A Source Book by Artists and CriticsArtists Book by A Source dernArt: o M . York: New Harry N. Abrams, Inc. Publishers, 1997. f ith M . York: New Franklin Watts, 2002. ies o nd w e eek Kandinsky Theor History of People Young for Art E. L. Retrospective Exhibition Kirchner—A Apollinaire on Art: Essays and Reviews, Essays Art: on Apollinaire 1902–1918 W The Unknown Matisse: A Life ofA Life Matisse: The Unknown Henri Matisse,Years, The Early 1869–1908 Henri Matisse: A RetrospectiveHenri Matisse: 1992. A Henri Matisse ess, r ian. Matisse: The Man and His Art, and His The Man Matisse: 1869–1918 r The Life and Work ofWork and The Life Henri Matisse P erschel B. erschel y Henri Matisse: Masterworks from The Museum ofHenriThe Museum Matisse: Masterworks from Art Modern Flo H sit , i, 1986. r p e v dar ess, ew York:ew Knopf, 1998. ni hip o r R Welton, Jude. OTHER SUGGESTED SOURCES Breunig, C. Leroy Spurling, Hillary. 1969. Messer, M. Thomas U N FOR YOUNGER READERS Flux, Paul. Janson, F. Anthony Press, 1972. C Prelinger, Elizabeth, et al. Alessandra Comini Elderfield, John. 1992. ———. ofMuseum Art, Modern 1996. Flam, Jack. P Gordon, Donald E. University ofUniversity Press, California 1968. . .New New York:New Harry N. . .York: New of The Museum Art in Theory: in 1900–2000,Art ofAnthology An Changing Primitivism, Cubism, Century Twentieth The Early Abstraction: ModernStarts: People, Places, Things Modernity and Modernism: French Painting in the Nineteenth Century Nineteenth in the Modernity Painting and Modernism: French ine Disregard: What Makes Modern Art Modern Art Modern What Makes ine Disregard: F A . Oxford: Publishing, Blackwell 2003.

arnedoe, Kirk.

New Haven,New Press, Connecticut: University 1993. Yale Harrison, Charles, et al. Abrams, 1990. Modern Art,Modern 1999. Frascina, Francis, et al. V Elderfield, John, et al. Haven, Press, Connecticut: University 1993. Yale Harrison, Charles,Wood. and Paul Ideas

SELECTED BIBLIOGRAPHY & RESOURCES 34 SELECTED BIBLIOGRAPHY & RESOURCES 35 lin r e B itions/2001/whatisaprint um, xhib use c.uk useen/kollwitz (in German,useen/kollwitz French, and English) ontemporary art. If with students for a set up a workshop to like would you rg/e ot.a itz M e/m w rie,Art, and German Austrian for Museum York New alsc l ma.o and c ol n r .natg .dhm.d .mo e d ve and make accessible to the public historical documents about the Museum and about the Museum documents historical the public to accessible and make ve ue Gale r e ational Gallery of Scotland, Edinburgh Museum archivist to look and discuss primary through to archivist of documents Museum correspondence early directors, the Museum’s between curators, and various artists, call or (212) 708-9617 e-mail [email protected]. mo ABOUT MoMA ARCHIVES ofThe Museum Art and rich has a long history of Modern of in the careers involvement modern artists.many A department of pre- in 1989 to was established at MoMA archives se www.neuegalerie.org War) I (the Great War World and on history on before Resources www.pbs.org/greatwar Seebüll Stiftung Nolde-Museum (in German,www.nolde-stiftung.de Dutch, and English) N N www www The Museum ofThe Museum Art, Modern York New www.moma.org Artistsof exhibition) (online Brücke www.moma.org/exhibitions/2002/Brucke a Print? Is What www Museum Brücke (in German and English) www.bruecke-museum.de Dictionary ofThe Grove Art Online www.groveart.com Käthe K ONLINE RESOURCES about School Programs,about School Services Group at (212) please contact n teaching approach fosters an ideal environment for live, for environment an ideal fosters approach teaching interactive io d mat r o y-base rvations phone. be by made can only rmation Learning programs,please about Distance call e-mail (212) 333-6574 or inf uir o ese e R Videotapes must be picked up and returned in person. up and returned be picked must Videotapes r inf inq e. e s r ’ mo r ANCE LEARNING es and videos, visit MoMA’s Web site at www.moma.org/education. site Web es and videos, visit MoMA’s mo o harg gramming for teachers and students outside the New York metropolitan area.“MoMA metropolitan in York the New outside and students gramming teachers for f c r o oMA Box”—a teaching kit containing color reproductions for every for participant, reproductions color kit containing teaching Box”—a a CD-ROM, r r f o ideo-conferencing. with “Looking MoMA” multipart provide classes video-conference DIST M worksheets, guides, educator with passes—is included class. each and Museum classes Some in Spanish. available are F [email protected]. PLANNING A MUSEUM VISIT classroom, in your or at MoMA Educator with discussion a guided schedule a Museum To o p a For more information, more For materials, purchase or borrow to consultation, for or please call (212) e-mail [email protected] or description of and a complete form an order For educator guid v TEACHER RESOURCES in all subject areas. available are K–12 teachers for resources Educational guides Educator with CD-ROMs, or slides as well as videotapes, loan the year. throughout for available are these resources.All to access unlimited free have be borrowed may All schools may materials o MoMA SCHOOL PROGRAMS MoMA SCHOOL 708-9685.

O M MA SCHOOL PROGRAMS 36

CREDITS

AUTHORS: April Kim Tonin and Ben Street EDUCATION EDITORS: Sarah Ganz Blythe and Susan McCullough EDITOR: Cassandra Heliczer DESIGNER: Hsien-Yin Ingrid Chou PRODUCTION MANAGER: Claire Corey

This Educators Guide is made possible by the Citigroup Foundation and by public funds from the New York City Department of Cultural Affairs.

In reproducing the images contained in this publication, the Museum obtained the permis- sion of the rights holders whenever possible. In those instances where the Museum could not locate the rights holders, notwithstanding good faith efforts, it requests that any contact information concerning such rights holders be forwarded, so that they may be contacted for future editions, to: the Department of Education, The Museum of Modern Art, 11 West 53 Street, New York, NY 10019-5497