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Home , Futurism, Gino Severini, Modern art, Pablo Picasso, Robert Delaunay, Roger de La Fresnaye

MODERN AND IDEAS 3 1907–1914 A Guide for Educators

Department of Education at The of AND

Artists included in this guide: , , , , Fernand Léger, Étienne-Jules Marey, Filippo Tommaso Marinetti, Pablo ,

TABLE OF CONTENTS

1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

4. SETTING THE SCENE

5. LESSONS Lesson One: Modern Life

Lesson Two: Rise of the Modern World

Lesson Three: Art and Movement

Lesson Four: Art and War

18. FOR FURTHER CONSIDERATION

20. GLOSSARY

21. SELECTED BIBLIOGRAPHY AND RESOURCES

24. MoMA SCHOOL PROGRAMS

No part of these materials may be reproduced or published in any form without prior written consent of The . © 2006 The Museum of Modern Art, New York A NOTE TO EDUCATORS

This is the third volume in the Modern Art and Ideas series for educators, which explores the 1 history of modern art through The Museum of Modern Art’s rich collection. While tradi- A

tional art historical categories are the series’ organizing principle, these parameters are used N O

primarily as a means of exploring artistic developments and movements in conjunction with T E

their social and historical context, with attention to the contribution of specific . The T O

guide is informed by issues posed by the selected works in a variety of mediums (painting, E D

, prints, , film, and and design), but its organization and U C A

lesson topics are created with the school curriculum in mind, with particular application to T O

social studies, visual art, history, and language . Lessons are accompanied by writing, R S research, and hands-on, art-based activities that encourage students to make connections between the and other disciplines. The goal of this guide is to introduce students to Cubism and Futurism, two movements in modern Western art, and to demonstrate to teachers the variety of ways in which art can be used in the classroom. 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 demonstrate how images and historical information can be integrated in numerous subject areas and skill bases taught in the classroom. The works featured in this guide span the years 1907 to 1914, a period marked by artistic innovation and artists’ responses to the changing world around them. “Cubism” is a term applied to a range of art, produced mostly in at the beginning of the twentieth century, that abandoned traditional methods of creating the illusion of space and concerned itself with the geometric depiction of three-dimensional forms. Futurism was a movement in art and literature devoted to the glorification of war, the mechanical world, and dynamic speed. Students will be introduced to significant ideas in art and culture from this period. By com- paring 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 , social, and histori- cal 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 suggested, it “has been the product of individual decisions to reconsider the complex possibilities within the tradi- tions available to them, and to act on basic options that were, and remain, broadly available and unconcealed.”1 Indeed, a 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: What Makes Modern Art Modern (New York: Harry N. Abrams, 1990), 22. USING THE EDUCATORS GUIDE

The four lessons that comprise this guide—Painting Modern Life, Rise of the Modern World, 2 Art and Movement, and Art and War—may be used sequentially or as independent units. U S

I An introduction to the key principles of each lesson is followed by a close examination of N

G each work, including formal analysis, historical context, and information about the . T H Discussion questions based on the artwork lead students through a formal analysis and seek E

E to create connections between information and visual evidence. The activities that conclude D U

C each lesson encourage students to synthesize what they have learned about the works, and A

T carries the 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 one another’s obser- U I

D vations 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 images on the accompanying CD-ROM. Please examine the images carefully before showing them to your students.Your classroom should be equipped with a computer and LCD projector.You may also print images from the CD-ROM to transparency paper for overhead projection in the classroom.

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. Feel free to tailor the activities to the age level of your students.

RESEARCH PROJECTS The materials in this guide 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 Y glossary of at is included lesson) in each art (bolded upon first mention terms historical GLOSSAR A ofthe end the guide. Additional discussion questions and research projects are included in this section. in included are projects and research questions discussion Additional A bibli- use to and students teachers for section has also been provided resources and ography research.in conducting further infor- in these pages provide recommended resources The the artistsmation on and artworks in this guide, topics, historical general and additional activities. classroom FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES AND SELECTED CONSIDERATION FOR FURTHER major impact the world, major on a d ha e v that ha ns io vat inno cts can only bects drawn using geometric can only of using the side shapes lines or or a je b ple. o d. e e p y eat groups to complete writing and assignments following one another’s rules. writing complete and drawing assignments another’s to following one groups your students think about students your cr r e e cify that o v AND RESPONSE v e dinar gical innovations. worse, or better For of drastically the lives changed these developments a ETTING THE SCENE ETTING r H 2. ofMany new - exciting and by events world by the artists affected were in this guide lo o Cubism and Futurism involved new ways of new ways involved Futurism and Cubism things like everyday looking at and representing objects, and common figure the human movement. subjects like as well as ephemeral To in a new way,depict the world methods artists in painting, technical devised innovative sculpture, and . way, a subject in a different representing experience of groups into students your break To a new set of six and develop or five writing rules for drawing. or example, For might students sp discuss what challenging was surprising to or about the assignment and students Encourage the rules. know who didn’t someone be to would appealing the results or clear how 1. BREAKING OUT: CREATING A NEW VISION CREATING 1. BREAKING OUT: ofpencil instead the point, in a writing a that all assignment include or the sentences must ofcertain number adjectives, nouns, verbs, and adverbs, be must that every or letter other written backward, be must nonsense. that every or word other should challenge Students othe research, cell as stem such cloning, weapons, nuclear and digital information. students Ask of and cons the pros debate to these innovations, the from information using background and newspaper and magazine articles. through the issue to can respond Students writing art or students’ other and identify what looking they positions at and reading by ha S

4 SETTING THE SCENE LESSONS

LESSON ONE: Painting Modern Life

5 L E S S O N S

IMAGE ONE: . Spanish, 1881–1973. Les Demoiselles d’. 1907. Oil on canvas, 8' x 7'8" (243.9 x 233.7 cm). The Museum of Modern Art, New York. Acquired through the Lillie P.Bliss Bequest. © 2006 Estate of Pablo Picasso/ (ARS), New York

IMAGE TWO: Pablo Picasso. Spanish, IMAGE THREE: Georges Braque. French, 1881–1973. “Ma Jolie.” 1911–12. Oil on 1882–1963. Man with a Guitar. 1911–12. 3 3 3 7 canvas, 39 ⁄8 x 25 ⁄4" (100 x 64.5 cm). Oil on canvas, 45 ⁄4 x 31 ⁄8" (116.2 x 80.9 cm). The Museum of Modern Art, New York. The Museum of Modern Art, New York. Acquired through the Lillie P.Bliss Bequest. Acquired through the Lillie P.Bliss Bequest. © 2006 Estate of Pablo Picasso/Artists © 2006 Artists Rights Society (ARS), New Rights Society (ARS), New York York/ADAGP, , Ask your othel on body language adical—like a adical—like Ask them to describe . eate a new movement. ed by the exchange of ideas between ed something new and r , con- the artist’s repulsed and even shocked , as a reproduction, in a book) is very often the Les Demoiselles d’Avignon celona, , that he had visited in his youth with his . work on a painting over a period of time; Artists may vinyó) in Bar er d’A Les DemoisellesLes d’Avignon emember a time when they encounter eet (Carr evisions and modifications ead, an old trend, whether it replaced were. and what their reactions vignon Str ell your class that Picasso based this work on his memory of the women in a br esult of r adical may have an effect on the of other artists and cr adical may have an effect on the style of other friends. The painting depicts five women, and drafts, but in his many sketches Picasso had included two male characters, a medical student and a sailor. Eventually he decided that the not necessary for the final work.men were Ask your students how they would describe the fig- varies. of each figure treatment to the viewer and discuss how Picasso’s relationship ures’ Ask in it. any male figures were of the work would change if there them how their interpretation A T Give your class a few minutes to look at students to r (or The work of art we encounter in a museum r Artists often inspire and influence each other.AnArtists often inspire something entirely artist who does or makes r Students will investigate how a new style was further Students will investigate how a new style Cubist works depicting the human figure. and contrast Students will compare Students will examine the ways in which an artwork is innovative or daring for its time. Students will examine the ways in which an Picasso and Braque. trend, a new popular gadget, or new slang. how the new trend Ask students to recall spr what they see in the work. carefully, Have them observe the figures noting what each is doing and comparing them to each other.Ask your students to describe the figures’ facial expressions, to each other. and relationships some create many sketches and drafts before arriving at the final work. before drafts and many sketches some create Have your students completing a final work. of it before or four sketches at least three pick a subject and make of creation,Ask them to think about the process changed with each about how the drawing draft,emphasized and why. and about what was left out or • IMAGE-BASED DISCUSSION • • INTRODUCTORY DISCUSSION INTRODUCTORY • • • LESSON OBJECTIVES • temporaries with its style and subject. the creative demonstrate works and third The second withas they between Picasso and Braque experimented this that developed relationship new style of painting, remark. derogatory a critic’s was named after which INTRODUCTION new methods in creating of interested The artists were with associated Cubism represen- tation. them, around depicting the world In these artistsmultiple viewpoints, included forms,distorted artworks. in their spatial relationships and ambiguous traditional The use of , of illusion three-dimensional a convincing creates which space, was abandoned, its geometrical into components down a subject broken understand challenging viewers to angles several at once. from represented and often figure, depict the human in this lesson works three All artists, subject for a classic and were Braque, Picasso and Georges Pablo by painted of pioneers Cubism. students first The work will look at, Picasso’s

6 LESSONS 7 LESSONS 2 emain— “Ma Jolie.” . esentations ofesentations the (New York:(New The Museum and r p e r . Have students discuss . e ar , aque Les DemoisellesLes ges Br to decipher.Tell them that Picasso to decipher.Tell Man with a Guitar s after he saw them on a visit on the Palais them to he saw after les d’Avignon l by Geor e but certain identifiable objects r , mois e ed their new style, developing the foundations of often painting side by side , es D L Studies in Modern Art 3: Les Demoiselles 3: Les d’Avignon Art Modern in Studies e Les DemoisellesLes and describe what they see. parts of the Discuss which their subjects lik e Man with a Guitar ” lie, o J a “Ma Jolie” aque as they explor “M and the artists obscur , uitar ith a G ce material. ant café culture ofant café culture early-twentieth-century Paris, in which artists, dancers, musicians, facial feature, the neck of the guitar, a wine glass, text, title. the work’s Ask your students r a café culture. might have depicted Parisian how an artist other than Picasso or Braque Ask them why these two works may be difficult for viewer and Braque, a new style of representation, in creating to be challenged wanted their viewers this way. in precisely painting are easy to identify and which are not. easy to identify and which are painting are between with a partner the similarities and differences Ask students to think of a time when they collaborated on a project with someone. on a project Ask students to think of a time when they collaborated Ask them to the project,what each partner brought disagreements, were whether there and how resolved. were those disagreements or challenging about Ask students what was enjoyable the collaboration, with Picasso and Braque’s. and how their experience would compare Explain to students that both works were the result of an intense collaboration and friendship of an intense collaboration the result Explain to students that both works were between Picasso and Br In both works Ask students to look at Now turn students’ attention to Ask your students what effect the create.Ask your students what effect the masks Ask them to think of a time when they used for an art project lives as inspiration their personal a museum or an event from imagery from or writing assignment. with the them to think about how their work compared Encourage sour Turn your students’ attention to the painting’s background and ask them if they can tell where ask them if they can and background the painting’s attention to your students’ Turn is set.the painting the setting difficult makes the style of representation Ask students how to identify. by break- the space in part and fractured that Picasso fragmented Explain to them planes. splintered into in the background ing the curtains Cubism by exchanging ideas and artworks an w ,William Hélène Seckel, Cousins, and Judith uman figure—a man and a woman,uman figure—a respectively. the by inspired Both were ib of Art, Modern 1994), 244. h v socialize, all gather in cafés to and celebrities would , debate, ideas. and exchange The pretty”“my jolie,”which“ma means song expression in French, a popular 1911 from comes Gouel, Eva pet name for and was Picasso’s his girlfriend at the time. 2. • • • M • • • Many people were outraged the public, this painting when shown to was first were people Many and the con- of a number sparked troversy rivalries Picasso and his contemporaries. between artist The “angry”about was described Matisse as Henri and others:“His this work reaction immediate was an outrage,was that the picture ridicule movement. to the modern an attempt vowed He ‘sink’ means to some find he would him sorry Picasso and make his audacious hoax.” for by and was offended his contemporary Braque disliked Even Picasso, of as well as many his contemporaries, sources. non-European inspiration drew from African masks into incorporated He Trocadéro,du museum.Paris a Masks,Africa, particularly from certain avant- fascinated artists.garde The masks’ radical simplificationand stylization of features, human with along painting practices,Western traditional to they suggested the alternative these challenged of new forms artists develop to representation. right both the painting’s on figures The two faces. masklike have • ACTIVITIES of the idea explore students your Have of taking pictures by multiple perspectives the same angles. different many subject from parts or these pictures of Using them, should students various viewpoints. that depicts the subject from collage two-dimensional single a make of the idea explore To artistic collaboration in the spirit of projects, Picasso and Braque’s a partner e-mail to write past artwork. or a new or about students a letter your have The letter should describe looks like, what the work what it conveys, message they and what process used it.in creating of a work The partner shares and writesthen in response a letter her his or own. of with rounds a few Proceed exchange. these letters, Through to decide may students project. or work a joint on collaborate Picasso and Braque worked together so closely that many people had trouble distinguishing people had trouble that many so closely together Braque worked Picasso and their work, and the artists off left the signatures often the encourage to in order canvases their confusion. as that of Braque describedrelationship their together. roped mountaineers two

8 LESSONS LESSON TWO: Rise of the Modern World

9 L E S S O N S

IMAGE FOUR: Robert Delaunay. French, IMAGE FIVE: Roger de La Fresnaye. French, 1885–1941. The Tower. 1911 (inscribed 1910). 1885–1925. The Conquest of the Air. 1913. 1 1 7 Ink and pencil on paper, 21 ⁄4 x 19 ⁄4" (53.9 x Oil on canvas, 7'8 ⁄8" x 6' 5" (235.9 x 195.6 cm). 48.9 cm). The Museum of Modern Art, The Museum of Modern Art, New York. New York. Fund Mrs. Simon Guggenheim Fund

IMAGE SIX: Fernand Léger. French, 1881–1955. 7 3 Propellers. 1918. Oil on canvas, 31 ⁄8 x 25 ⁄4" (80.9 x 65.4 cm). The Museum of Modern Art, New York. Katherine S. Dreier Bequest. © 2006 Artists Rights Society (ARS), New York/ADAGP,Paris arisians in the late-nineteenth . , but do not give them any information om the top of the brand-new . Eiffel om the top of the brand-new . drawing by Robert Delaunay that depicts drawing a wer was the tallest structure in the world and gave was the tallest structure in the world wer , o .for the work, their own titles Ask them to create and the t The Conquest of the Air The Tower uilt, ent because of these innovations ime it was b iew of their city before. seen they had never differ the t ’s title refers to the era’s advances in aviation. advances artist who was a French the era’s to title refers La Fresnaye ’s e k t r A o l. e tudents will consider the ways in which the contemporary world and events affect artists, world and the ways in which the contemporary tudents will consider isians a v

about the work. and have them develop a or partners Divide them into small groups based on what they see the painting their ideas with the class. have them share Tell your students the painting’s title and discuss what it could mean. your students the painting’s Tell Ask them what they see in the painting that supports the title. Give students time to look at Ask your students to imagine surveying fr Ask your students to imagine surveying the might affect the way P Ask them to consider how that experience tower itself century felt about their city and about the drawing. at Delaunay’s Ask your students to look carefully Discuss the lines and shapes they see, Tower to the Eiffel the buildings on the edges of the drawing and have them compare of space. treatment in the center.Ask students how they would describe Delaunay’s Ask them the buildings. if they find anything surprising in the way he has represented Have your students look at Discuss the idea of technological innovation with your students.Discuss the idea of technological innovation Have them compile a list of all the technological innovations used today, including cell phones, digital clocks, calculators, MP3 players, and video games. of these innova- predecessors Ask them what the technological and what they think will come next.tions were of how their Engage students in a discussion lives ar S these effects. and record to and how artists respond how artists use symbols to convey meaning. Students will investigate the Eiffel Tower. the Eiffel he w

iff ar ESSON OBJECTIVES • T • • • The Eiffel Tower was designed for the 1889 World’s Fair in Paris by French engineer Gustave French by in Paris Fair World’s the 1889 was designed for Tower The Eiffel E IMAGE-BASED DISCUSSION • P INTRODUCTORY DISCUSSION INTRODUCTORY • L • • INTRODUCTION in history great changes and technology. by centuryThe early-twentieth marked was Artists the innovations these made and them around innovations the many by affected deeply were subjects of of many their artworks; new and other Cubism explore artists to continued many offorms representation. took great pride in France’s contribution to aviation history, aviation to contribution pride in France’s great took the 1783 invention including of Étienne and Jacques Montgolfier Michel Joseph the brothers the hot-air balloon by distance, for records broke Wright duration, Wilbur American aviator Montgolfier. 1908 In and altitude with a fifty-six Mans, Le mile flight from France, was born, La Fresnaye where Paris.to later, A year the flight across Blériot the first complete Louis made aviator French English Channel.

LESSONS 10 • Ask your students how La Fresnaye glorifies French aviation in his painting. Discuss how the artist arranges the picture and uses symbols to tell the story of French aviation history.

The two men in the painting are most likely the artist and his brother Henri, who was the director of an important aircraft-manufacturing plant. The French flag and balloon highlight French aviation accomplishments, and the sailboat could indicate human mastery over wind and air.

• Turn your students’ attention to Propellers, and ask them what they think is going on in the painting.

Fernand Léger was another artist who was fascinated with modern life, especially with the 11 mechanical world and particularly with the propellers that were the inspiration for and title L E of this work. He was greatly influenced by his experiences as a soldier during I S S (1914–18), of which he wrote, “I discovered the meaning of machines through artillery and O N through the engines of war. The breech-block of a 75mm cannon lying out in the sun did S more for my development as a painter than have all the in the world. There I was really able to grasp the object.”3

To Léger and other artists, the propeller, an attractive object that embodied movement, was the perfect symbol of the modern mechanical world. The propeller facilitated combat in and reflected the early-twentieth-century obsession with the development of rapid land, sea, and air transportation.

• Léger wrote, “Aeroplane propellers . . . strike everyone as being objects of beauty, and they are very close to certain modern .”4 Ask your students if they think mechanical objects can be beautiful. Extend the debate to such items as a clock mechanism, a bridge, and a can opener.

• Have your students compare Propellers with The Conquest of the Air. Encourage them to think about how each artist glorifies his subject.

ACTIVITIES Have your students return to the list of technological innovations they assembled earlier and consider the different attributes of each. For each innovation, have them design a symbol that captures its unique and powerful qualities.

Have students interview an older friend or family member about innovations that had an impact on their lives, and then compare their responses with your own experiences.As a class, create a list of technological advances in order of importance, debating when necessary.

3. Christoph Asendorf,“The Propeller and the Avant-Garde: Léger, Duchamp, Brancusi,”in Fernand Léger, 1911–1924: The Rhythm of Modern Life, ed. Dorothy Kosinski, exh. cat. (: Prestel Verlag, 1994), 206. 4. Carolyn Lanchner et al., Fernand Léger, exh. cat. (New York: The Museum of Modern Art, 1998), 176. (70.5 x 1911. " . 4 ⁄ 3 37 x 8 ⁄ 7 (70.5 x 96.2 cm). " 4 ⁄ 3 7 3 x erto Boccioni. Italian, 1882– 8 ⁄ 7 Umberto Boccioni.Umberto Italian, mb U States ofStates Who Those III: Mind canvas, 27 tates oftates The Farewells I: Mind S n . 1911. canvas, Oil on 27 rk. Gift ofA. o 916. 1 Oil o 1882–1916. Stay The Museum ofThe Museum Art, Modern York. New Gift of A. Nelson Rockefeller IMAGE ELEVEN: 96.2 cm). of The Museum Art, Modern New Y IMAGE NINE: " 8 ⁄ 5 14 x 16 ⁄ 1 . " 2 ⁄ 1 61 . 1911. x 8 ⁄ 5 (70.5 x 96.2 cm). " 4 ⁄ 3 Boccioni. Italian, 1882– 37 o t x r 8 ⁄ e 7 Étienne-Jules Marey,Étienne-Jules French, 1830–1904, mb Gino Severini. Italian, 1883– U Dynamic Hieroglyphic of the BalTabarin States ofStates Who Go Those II: Mind

12. with sequins, canvas Oil on 63

9 The Museum ofThe Museum Art, Modern York. New Gift of A. Nelson Rockefeller 1916. 1966. and Georges Demenÿ,and Georges French, Untitled 1850–1917. (Sprinter). c. 1890–1900. print, Gelatin silver 6 1 (161.6 x 156.2 cm). x 156.2 (161.6 of The Museum Modern Art, the Lillie through P. York. Acquired New Bequest.Bliss Artists Rights © 2006 Society (ARS), York/ADAGP New (15.4 x 37.2 cm). x 37.2 of(15.4 The Museum Art, Modern New York. Gift of F. Paul Walter IMAGE TEN: IMAGE EIGHT: IMAGE SEVEN: LESSON THREE: Art and Movement LESSON THREE: Oil on canvas,Oil on 27

LESSONS 12 LESSONS 13 e ” . artists , oglyphic hier but don’t tell , Have students compar . acters, settings, and why , essentially, to stop time. With Discuss char . om page to page Explain to students that in comics . photograph, and discuss how the movement s ey’ making it possible , will change fr e Dynamic Hieroglyphic of the Bal Tabarin relates to those associations.relates Discuss how the artist depicts the aphic plate Bal Tabarin aphs like these had on artists. aphs like gy, and movement of the environment. ast their finished works with Mar , dancers, includes Severini hats, top instruments, drinks, décor, and club as well as ener bearing in mind how the figur es on a single photogr eate a visual narrative that unfolds over sequential panels.eate a visual narrative Engage students in a discussion tudents will explore different artistic techniques for communicating motion. artistic techniques for different tudents will explore ell your students the title of the work and ask them to define “dynamic”ell your students the title of the work and ask them to define “ and rhythm, Explain to them that this painting by Gino Severini depicts Bal Tabarin,Explain to them that this painting by Gino Severini depicts Bal a famous nightclub in Paris, by the artist. as it was remembered that come Ask students to compile a list of the words to mind when they think about the sensory and visual experience of nightclubs and nightlife, and to discuss how specific narrative moments in the story might have been chosen. specific narrative Give students some time to look at T this technique, or flying pigeon was revealed. horse the movement of a running work Marey’s influenced the history of cinematography.greatly what discoveries Ask students to imagine these photographs.would have been made by people viewing Ask them to consider what impact photogr strip Have each student choose and bring in a comic cr comic strips of the choices made by the artists in these Have students create flipbooks using small blank books made of paper cut into small squares Have students create and bound together. of possible range in the greatest them to depict a figure Challenge motion, Explain to students that before the advent of photography, before Explain to students that human and animal movement of you. as it happened in front could only be studied by observing an action Show students in it. of the sprinter and ask them to describe what’s the photograph them Tell the meaning “chronophotography,” a technique he called invented Marey that Étienne-Jules of time.photography of succession a rapid allowed him to record process This photographic exposur S motion. and how a work in series can depict narrative Students will analyze and contr of animation. by a flipbook is similar to the process created title.them the work’s Ask them to describe what they see, either as a class or with a partner. ESSON OBJECTIVES Bal Tabarin Severini was an Italian artist who moved to Paris in his early twenties. Paris artist to was an Italian Severini who moved of was a member He movement,the Futurist celebrating speed and the modern machine. to which was devoted He of works the Cubist by was also influenced Braque and Picasso,Paris. in seen had which he In IMAGE-BASED DISCUSSION • • • • INTRODUCTORY DISCUSSION INTRODUCTORY • L • • INTRODUCTION ofin depicting the sensation interested The artists were lesson in this motion. by Inspired ofnew forms other and techniques photographic advanced technology and transportation, these artists dynamic, chose of hubbub the subjects like active a train energy station and the of a nightclub. allusions to the era’s political climate; the era’s to allusions Arab riding a flags and the the colorful refer to the ofWar Libya. over gained control in which 1911–12, Turco-Italian , (New York:(New The Museum hose Who Depart 5 T , he Farewells T . Boccioni’s and contrast Have them compare Bal Tabarin Ask students to share their series with the class and discuss the choices their Ask students to share . escription as sounds, (such smells, and feelings) as possible.Afterward, have Modern Painting and Sculpture: 1880 to the Present at The Museum ofThe Museum at the Present to and Sculpture: 1880 Modern Painting Art Modern ne of in the changes the technological by affected artists profoundly many and d wing, quick, they should make of small sketches in motion. figures the second For ent or dance performance on television. on performance dance or ent kinds of different many See how move- n a v io hose Who Stay ni was o T st dr ing e mat t r cio r nd ketch their own for each of the three titles: for each of the three their own drawings ketch nts—running, jumping, standing, sliding, and so forth—they a page. can depict on For hey made.

c o t a Turn your students’ attention back to your students’ attention Turn Show your students each of the works in the States of Mind series.Show your students each each one, For students have with Boccioni’s. their own drawings compare going on and describe what’s Discuss the choices action and atmosphere,the artist made in depicting that is similar or and what students find works. in the three different Have students, or four, three of working in groups featuring the write a sentence or poem and nightlife. the sensations of nightclubs up with to describe they came words may They their poems. as needed to complete words add other works they’ll look at, that the next your students Tell by Umberto States of Mind series the Boccioni, station. train a from depict a departure you show them the works, Before have them s treatment of movement and mood with Severini’s. treatment o nsation of movement. at a playground, playing children subjects include Possible a or ,John ed., o

5. of Art, Modern 2004), 123. me the fir drawing, shapes, they should use different lines, and symbols the same kinds of indicate to in the first drawing. sketched movements students your Have write a narrative of beginning a trip end, to from visual as much including inf • ACTIVITIES kinds of two make students your Have the or drawings capturing on that focus movement se sp B him. around world of Although many and glorified embraced colleagues the his Futurist era,new mechanical of in the States own his anxiety about the reveals series Boccioni Mind existence. daily drastic to made changes the series a title. drawings sequential and give three into translate their experiences them Have with of their work the rest share them the class. Describing this series to the French poet , poet Guillaume Describing the French this series to wrote, Boccioni “one departure,expressing arrival the other . . . not used I have in feeling . mark the difference To painting ofin my arrival the painting of a single line from departure.” • • •

LESSONS 14 LESSONS 15 4–15. 1 9 1 . rance la F e (30.9 x 32.6 cm). The v i " 4 V ⁄ 3 Filippo Tommaso Marinetti. Filippo Tommaso 12 x 8 ⁄ 1 6–1944. 87 1 talian, Ink, crayon, paper printed and cut-and-pasted paper,on 12 IMAGE THIRTEEN: I Museum ofMuseum Art, Modern York. New Gift of the Foundation Benenson Benjamin and Frances " 4 ⁄ 3 28 x 2 ⁄ 1 nthesis of the Idea: y vement, of exploring concepts in addition to simultaneity, dynamism, and Gino Severini. Italian. eclaring of the beliefs and intentions the movement. ual S d is V ist mo ur esto ning, the last century. them—over around and depicting the world the early In t 1914. canvas, Oil on 36 u io 1966. – 3 Students will be introduced to the concept of the manifesto and will investigate its relation- Students will be introduced ship to an artistic movement. to political and social issues. how art can be used as a response Students will explore 2006 Artists Rights2006 Society (ARS), manif rtists have used their work for social political and for commentary—protesting, used their work rtists have dissenting, he F ew York/ADAGP,Paris uest 88 speed and art, in life political and glorified of war as a way was aggressively obtaining Marinetti, leader, Italy. for national supremacy the group’s Filippo Tommaso 1909 In wrote a LESSON OBJECTIVES • • , against other, mobilizing each nations were when entire together individuals banded heard, and opinions their voices make to and artists with about war, works responded both and against. for T INTRODUCTION A q (92.7 x 73 cm).(92.7 x 73 of The Museum Modern Art,York. New of Bequest Slifka. Sylvia © N “War.” IMAGE TWELVE: LESSON FOUR: Art and War LESSON FOUR: 1 eading turns r e Ask them to . Ask them why . and have them come and have them come Have students tak . . om this painting about war 6 esence author of the Futurist Manifesto (New York: of(New The Museum Art, Modern 2004), 14. used for emphasis e Visual Synthesis of the Idea: “War” out loud. them to look for visual clues, Encourage such as the Ask them to describe what they see. to students that Explain . no punctuation,used as conjunctions. and mathematical symbols , poem is different from traditional poems written in verse form. poems written in verse traditional from poem is different s eated by Marinetti, tti was inspired to invent this kind of invent to tti was inspired writing the in his experiences by rited from Homer.rited from liberate words, need to A pressing drag of out them to Vive la France Vive la France ine is a word poem written in the “free word”“free poem written in the is a word method, by which was invented ar Drawing from the Modern,Drawing from 1880–1945 M . ing discussion of the visual symbols the artist has included that represent aspects of war as has included that represent discussion of the visual symbols the artist rival manifesto. school hallway, and create either to join the movement or to dissent and invite other classes hat the class is for and against.hat the class is for and hold and what should Include what the class thinks the efine manifesto as a class. Have the class write its own manifesto, with bullet points outlining ctions it might take toward creating that future. creating toward ctions it might take the manifesto in a public place, Post such as urn students’ attention to what is missing fr urn students’ attention to what is missing

this work is a poem cr Marinetti’s free-word poems, free-word Marinetti’s which he often performed, governed by strict rules were including phonetic spelling Bold type and varying font sizes wer Show students size, spelling, of words, and repetition to guide their decisions about tone and volume as aloud. they read Ask students what words they see in the work.Ask students what words and what what the text represents Ask them the work. other text Severini could have included in T Tell students the title of the work and ask them what they think it means. students the title Tell Engage them in a he might have experienced them in 1914. a a a your students’ attention to Turn D w Ask your students to discuss the clubs or groups they belong to. they belong clubs or groups to discuss the Ask your students partners the class into Break club was established, about how their interview each other and have them what happens in it, members, ’s what unifies and recorded are and how they club rules are what the disseminated, and led. structured and how the club is up with as many observations as they can about the painting.up with as many observations as they can turns Have students take contributing a new observation, anything that one going after another without repeating been said.has already observation. student’s Any student can contest another See how the class can complete. many rounds describe how Marinetti’ Severini might have left out the human pr the text parts of paint Jodi Hauptman, Jodi

cockpit ofcockpit a biplane, hearing of the roar new and seeing the exciting propellers the aircraft’s views of the air. cities from these episodes, After he wrote,“I the ridiculous sensed inanity of the old syntax inhe their prison . . . .This me, told is what the whirling propeller meters hundred I flew when two the mightyabove chimney pots of .” • • la France Vive Marinetti. this method, In syntax and the rules of from freed are words grammar no and are paragraphs. make to strung together in linear sentences elements longer Instead, they are objects in create brush strokes like shapes much evocative form the page to across organized a • • • IMAGE-BASED DISCUSSION • • INTRODUCTORY DISCUSSION INTRODUCTORY • 6.

LESSONS 16 LESSONS 17 was written as a response to his experiences. as a response was written ways in which the Discuss the xli osuet htMrntiwsarpre uigteBla aso 92 and that of 1912, Wars the Balkan during was a reporter students that Marinetti Explain to Vive la France work is reminiscent of war,work is reminiscent composition. parts and its different work’s attention to the paying sights, to think about the students Encourage sounds, have that Marinetti might and smells subject encountered. of a war-related interpretation about how Marinetti’s Ask them to think Severini’s. from differs CTIVITIES A articles for about look the Internet and magazines in newspapers and on students your Have ofand pictures war, and bring what they class. find into a list of make them Have all the words while them looking at the articles to that occurred and pictures; words also include may the list the articlesfrom themselves. this list and write two from choose words to them ask Then poems, arranged are creatively the words in which and another form prose in linear or one the page,on poems. word Marinetti’s akin to poem their with share the students your Have made. everyone choices creative and discuss the different class • d. e hang elong to the same group. to elong of Many the artists with associated has not c r art and what he used.he made mediums compare students Have f ists b t has o this work’s style,this work’s artist, theme, or it. shown around works and the other k r n o e the ar e y hat kind o tw h e the w Each student chooses one figure, chooses one student Each work, her his or researches one and presents f hing w lass, the artists or with art or associated research Cubism critics most commonly c ism. c a ur luding information about how people reacted to the artist’s work at the time and any at the time and any work the artist’s to people reacted about how information luding making b

t ound them. Discuss what kinds of who might the designed the exhibit connections s hink about how the physical layout of layout the physical hink about how the gallery certain curatorial choices. determines OR FURTHER CONSIDERATION OR FURTHER

e u esear F Point of View A Have students select of one students Have 1914, after his career the artists and investigate in this guide r times, the same artist by made at different works several and contrast looking in particular changed, or developed the work at how the class, to the research present them have and then inc work, later an important in the artist’s role that played factors or events as historical such experiences. personal RESEARCH PROJECTS Looking Ahead these movements shared and exchanged ideas, and exchanged shared these movements of some but agreed with not have may them along. gotten or other each of evidence look them for Have artists between a relationship had with others. the friendships rivalries or the artist have and research may of The Museum Visit Art in this guide. an artwork and locate included Modern Encourage and scale, size the work’s consider to students details they not have would and discuss any in the reproduction,noticed of as the texture such the surface.Ask their under- how students standing o T Ask your students to make a list of make to students your Ask about the artists questions in this remaining featured any guide. further facilitate research, To as artists’ such categories into questions their organize lives,artists the how their works, or made why events. and historical not who are but Futurism or artists with associated who research are Cubism students Have included in this guide. of one by select a work to them Ask a work it to the artists and compare of in one examined the lessons, and the works between similarities looking for and differences discussing w CONCLUDING QUESTIONS exhibited works other to connection some galleries have usually in the Museum’s Works ar b F or two of two or voice. the artworks articles or in the artist the class to critic’s or should Students the artist’s understand to and biographical in order information context historical consider personality and beliefs. have. would as their characters other each debate may Students

FOR FURTHER CONSIDERATION 18 FOR FURTHER CONSIDERATION 19 ” lie, o J a “M ). examine students Have Visual Synthesis ofVisual “War,” the Idea: and Vive la France Vive Dynamic Hieroglyphic ofTabarin the Bal purely as a visual element or if a visual as or element purely it signifies the subject of the work. students Have al of of works the artists created in this guide (Picasso’s art text that contain r e d v e what a selected word refers to and why the artist it, and why included to refers word what a selected is whether the text considering use in art. artists used text other time how in this and other periods have research Art and Text S Severini’s of States Boccioni’s series, Mind Marinetti’s and Manifestos have been an integral part of have Manifestos of the development and artistic careers artist’s many movements. a manifesto reading by art-related manifestos different research students Have to. and the artwork between it it relates connections and investigating sub- research Possible Manifesto Second 1929 Breton’s André or Manifesto 1918 Tzara’s Tristan jects include of . Manifesto en politicalen in , of principles, individual’s or a group ft o n, io at lar c e tti and was devoted to the glorification to oftti and was devoted world, the mechanical war, and writing system, that of like , the ancient up of that is made stylized lic d The gestures, physical, facial expression, a person’s that convey and postures A ine new invention or idea. or new invention movement in art and literature that was launched in Italy in 1909 by Filippo by in 1909 in art in Italy that was launched and literature movement pub ar A A A omething that represents or stands for something else, stands for or omething that represents tex- or in pictorial either An early-twentieth-centuryAn style of the traditional, that abandoned representation S o: m. r est o fs, of courses and intended action. torial symbols.torial

mmaso M lie anif LOSSARY

e o ymbol: ual f t S dynamic speed.dynamic Innovation: M Futurism: T Hieroglyphics: b Cubism: of representation three-dimensional and objects the geometric and focused on space depic- tion of form. three-dimensional pic Body language: mental, state. emotional or G

GLOSSARY 20 SELECTED BIBLIOGRAPHY & RESOURCES 21 Berkeley: . o: The Uni- hicag C . en:Art University Yale v a H . ed. 3rd Cambridge: Harvard w e N . London: Thames & Hudson, 2001. . . Exh. cat.York: New of The Museum udies in Modern Art 3: Les Demoiselles 3: Les Art udies in Modern t S . York: New Wittenborn, Schultz, 1949. ista, 1912–1917 Exh. cat. ofYork: The Museum New Art, Modern 1998. . ur Cubism and Culture Cubism . Cambridge: Press, Cambridge University 1999. : F. T. Fiction Futurist of Marinetti’s Power ini fut . Exh. cat. ofYork: Museum New The Metropolitan Art, 1988. r r e The Rise ofThe Rise Cubism v : , 2005. ernand Léger Se . F Futurism The Othe ffin. o The Futurist Moment: Avant-Garde, Moment: The Futurist Guerre, Avant and the Language uring Time: The Work ofWork The uringTime: (1830–1904) Marey Étienne-Jules ork: of The Museum Art, Modern 1994. t uturism Picasso Pioneering and Braque: Cubism Y Cubism: A History and an Analysis,A History an and Cubism: 1907–1914 ic F w P e Umberto BoccioniUmberto nne C N of Press, California 1996. . : of The University Press, Chicago 1986. . A y Marta. sit n, non r e hner, Carolyn, et al. ig in, William, Hélène Seckel, Cousins. and Judith v v aun, artin, Sylvia. anso ni ELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY ELECTED ub r lum, Sartini. Cinzia d’A U B Rubin, William. B ofversity Press, Chicago 1992. Coen, Ester. H Art,Modern 1989. R M MONOGRAPHS READINGS ON FUTURISM Humphreys, Richard. Perloff, Marjorie. of Rupture Antliff, Mark, Leighten. and Patricia READINGS ON CUBISM Press,University 1988. Kahnweiler, Daniel-Henry. Gallery, 1995. Lanc S Golding, John. . ew York: Modern- . Rev. ed. York: The N . w e N d. . London: Thames & . York: New Harry N. 2nd e imate Picassoimate . lt ooking at Matisse and Picassoooking at Matisse L The U New York: of The Museum New Modern New York: Viking Press and The Metro- Press York: Viking New Theory, Anthology of 1900–2000: An Changing in t r A . York: New Franklin Watts, 2002. ainting and Sculpture: 1880 to the Present at The Museum of The Museum at the Present to ainting and Sculpture: 1880 . Woodbridge, Conn.: Press, Blackbirch 2003. P New York: ofNew The Museum Art, Modern 1999. n . r orks from The Museum ofThe Museum orks from Art Modern de W o . London: Belitha Press, 2000. Picasso and Braque: A . Picasso and Braque: What Makes a Picasso a Picasso?What Makes Roger de La Fresnaye: With a Catalogue Raisonné With Fresnaye: de La Roger M Pablo Picasso Pablo Fine Disregard: What Makes Modern Art Modern Art Modern Makes What Disregard: Fine An Invitation to See: 150 Works from The Museum ofThe Museum from Works See: 150 Invitation to An Art Modern A hts: 350 Cubism The Eiffel Tower The Eiffel New York: ofNew The Museum Art, Modern 2004. hlig brams, 2000. John, ed. ig A ld, N. Brigitte, Christine Piot, Bernadac. and Marie-Laure fie . 2nd ed. : Publishing, Blackwell 2003. y ison, Charles,Wood. Paul and r r r e nzález, Carmen, del María Harwood Rubin. and

oMA H useum ofuseum Art, Modern 2004. ar ar

eal, tarts: People, Place, Things H Varnedoe, Kirk. New York:New of Museum Art, Modern 1992. H M York: ofNew The Museum Art, Modern 2003. Greene, Meg. L FOR YOUNGER READERS Bolton, Linda. Modern Art. S Ideas M Abrams, 1990. Go AND IDEAS HISTORY ART Eld Elderfield, John, Reed, Peter Mary Chan, González, Carmen del and María eds. Franc, M. Helen Seligman, Germain. Hudson, 1969. Zelevansky, Lynn, ed. Art, 1992. Muhlberger, Richard. politan Museum ofpolitan Museum Art, 1994. Scarborough, Kate.

SELECTED BIBLIOGRAPHY & RESOURCES 22 SELECTED BIBLIOGRAPHY & RESOURCES 23 : Masterpiece Conserving a Modern dstudio e rg/r MA ARCHIVES orical documents about the Museum and modern and and to aboutorical the Museum documents chivist to look and discuss primary through chivist to of documents between correspondence o moma.org. ma.o hist @ e v them accessible to the public. to accessible them If with students a for set up a workshop to like would you um ar r .mo e dern artistsdern and architects. A department of to in 1989 was established at MoMA Archives ese use r www.moma.org/collection/conservation/demoiselles/index.html Studio:Red Teens for A Site www Dictionary ofGrove subscription) Art Online (requires www.groveart.com ofTimeline Art History, of Museum The Metropolitan Art,York New www.metmuseum.org/toah/splash.htm?HomePageLink=toah_l ABOUT M ofThe Museum Art and rich has a long history of Modern of in the careers involvement many mo p mak M the Museum’s early directors,the Museum’s curators, and various artists, call e-mail (212) 708-9617 or archives The Museum ofThe Museum Art, Modern York New www.moma.org DemoisellesLes d’Avignon ONLINE RESOURCES moma.org. @ ma.org. mo @ proach fosters an ideal environment for live, for environment an ideal fosters proach interactive hing ap c ea t d moma.org. @ y-base uir ent, a CD-ROM, worksheets, Educators, for the Guide slides, passes. and Museum inq s ud ’ st oconferencing. with Looking MoMA, classes, videoconferencing the Museum’s pro- y e r

oMA SCHOOL PROGRAMS PROGRAMS oMA SCHOOL oMA e ea. for reproductions color kit containing teaching in a Box—a MoMA include All classes

id ome programs are available in Spanish. available are programs ome rams, please call (212) 333-1112 or e-mail schoolprograms or rams, please call (212) 333-1112 v DISTANCE LEARNING DISTANCE M Learning, about Distance information more For e-mail please call (212) 333-6574 or distancelearning PLANNING A MUSEUM VISIT classroom, in your or at MoMA Educator with discussion a guided Museum a schedule To Services at (212) 708-9685. Group please contact about School Pro- information more For g v metropolitan York the New outside and students vide multipart teachers for programming ar e S Guides for educators with CD-ROMs are available for loan throughout the year. loan throughout for available are with CD-ROMs educators for All schools Guides these resources. to access free unlimited have e-mail teacherprograms 708-9882 or information, more For please call (212) TEACHER RESOURCES and about guides information for at www.moma.org/education site Web MoMA’s Visit programs. teacher M

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