MODERN ART AND IDEAS 6 ART BETWEEN THE WARS A Guide for Educators

Department of Education at The Museum of Modern Art ART BETWEEN THE WARS

Artists included in this guide: Otto Dix, Pablo Picasso, Dorothea Lange, Alberto Giacometti, Gustav Klucis, Jacob Lawrence, Max Beckmann, Fernand Léger, David Alfaro Siqueiros, Aleksandr Rodchenko, André Masson, Charles Sheeler, and Edward Hopper.

TABLE OF CONTENTS

1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

3. SETTING THE SCENE

5. LESSONS Lesson One: Identity

Lesson Two: Modern Movements

Lesson Three: Action/Reaction: Art and Politics

Lesson Four: Modern Landscapes

28. FOR FURTHER CONSIDERATION

30. GLOSSARY

33. SELECTED BIBLIOGRAPHY AND RESOURCES

36. MoMA SCHOOL PROGRAMS

No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS

This is the sixth 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 NOTE TO EDUCATORS tional art historical categories are the series’ organizing principle, these parameters are used primarily as a means of exploring artistic developments and movements in conjunction with their social and historical contexts, with attention to the contributions of specific artists. This guide is informed by issues posed by selected works in a variety of mediums (paint- ing, sculpture, printmaking, graphic design, and photography), but its organization and lesson topics are created with the school curriculum in mind, with particular application to social studies, visual art, history, and language arts. Lessons are accompanied by writing, research, and hands-on art-based activities that encourage students to make connections between the visual arts and other disciplines. The guide’s purpose is not just to explicate works of art but also to demonstrate how images and historical information can be integrated into numerous subject areas and skill bases taught in the classroom. Students will be introduced to significant ideas in art and cul- ture. 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. The Modern Art and Ideas 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 intel- lectual, social, and historical factors have contributed to the creation of art. Furthermore, modern art is not solely the product of artists who seek to overthrow convention at all cost. A work of art may be understood through a variety of approaches and offers multiple ways of understanding the historical moment in which it was made as well as the individual who created it. esponses, periodically visual evidence. activities The that con- ovided, use in and students to for teachers first mention in each lesson) is included at ntext and information on the artist. and information ntext Discus- dditional ideas about the artwork. ies in this guide are based on the images on ies in this guide are nded in these pages provide furthernded in these pages provide informa- general historical topics, and additional class- equipped with a computer and LCD projec- and LCD equipped with a computer make connections between their own experi- connections make key principles followed by a close examination a close by principleskey followed nts through formal analysis ofnts through the artwork, and ns. students’ Restating r —may be used sequentially or as independent —may Identity, Movements,Action/Reaction: Modern synthesize what they have learned about the works synthesize what they have eas for field trips included in this section. are A bib- tween information and nts, students’ and summarizing validate the discussion all help to Modern Landscapes Modern and liography and resources section has also been pr and resources liography research.conducting recomme The resources tion on the artists and artworks in this guide, activities. room GLOSSARY A glossary of art (bolded upon historical terms the end of the guide. FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES CONSIDERATION FOR FURTHER discussion questions and id Additional the accompanying CD-ROM.the accompanying showing them before the images carefully Please examine students. your to should be classroom Your tor. transparency paper for overhead to the CD-ROM also print images from may You projection. ACTIVITIES students to sections encourage The Activities in the lessons. presented concepts and the ences activities, these Through students will begin a language for discussing and looking at art. develop to the tailor the activities to to free Feel ofage level students. your IMAGES All of the questions, discussions, and activit The four lessons that compose this guide— compose The four lessons that Art and Politics, units. to an introduction The lessons include of each work, historical co the work’s including sion questions based on the image lead stude be connections create seek to students to clude each lesson encourage practicing skills students are curriculum it to the broader or relate the lesson to and connect in the classroom. to respond students to asking your by dialogue and debate encourage that you suggest We each others’ observations and interpretatio reviewing students’comme thoughts, focus the discussion, and generate a USING THE EDUCATORS GUIDE EDUCATORS USING THE

2 USING THE EDUCATORS GUIDE 3 SETTING THE SCENE Degenerate or Entartete Kunst hmark for your discussions as hmark for your , of that had been at the epicenter artistic in their work. 1939. use his- students to your Encourage Soon after, (a failed artist Hitler himself) tistic activity during this period, and social sketch out an initial timeline on the board. out an initial timeline sketch ica, and elsewhere. further information For century were years ofcentury years were great political, social, ou to explore the lessons in Modern Art the lessons in Modern and explore ou to since 1937;since artists largely were the represented events as the October Revolution in Russia in in Russia Revolution as the October events onded to the turmoil and change in their envi- the onded to satire know about the social and political events of social and political events about the know this Futurism m. as a benc them Use the war. of place In these movements, artists explored , and and exhibition presented 650 ofexhibition presented the 1,600 artworks that the Nazi Cubism abstraction , Classicism exhibition in Munich. The Rather than focusing on specific artistic movements duringRather than focusing on specific artistic the interwar period, movements this guide in art in Europe,looks at themes that emerged concurrently America, North and South America during that period. Between the wars, such as Dada, movements Surrealism, Suprematism, and Constructivism in Europe, developing were Russia, Amer South on these artistic movements, y we encourage 4 and 5,Ideas at www.moma.org/modernteachers. available now Art regime had seized from public artregime had seized from museums tory texts, art at the end of the bibliography history (consulting texts this guide), and Inter- net resources. created, timeline has been each group’s Once for each student or post a photocopy make them all in a visible in the classroo place AN EXHIBITION 2. CURATE ar the diverse students that despite your Inform artists’ deeply impacted political upheavals and their ability work. to lives 1933 the Nazi In ofparty control took the German parliament. on the artfocused his attentions world. 1937 he opened the In 1. CREATE A TIMELINE CREATE 1. a class,As students brainstorm what your time period. Based on their comments, begin to of groups class into your Break students, five four to the major research each group and have such as Germany, countries in European place that took events France, Italy, and and Russia and South America between 1918 and in North The third and fourthThe third decades of the twentieth change,and intellectual such by influenced 1917, the end of I in 1918,War the rise of World party Fascist in in Italy Mussolini’s Benito the 1920s, of seizure the Nazi in 1933, in Germany power in the United Depression the Great II looming on the horizon. the 1930s, throughout States War was also a time of It World and artistic prolific activity; resp artists actively I, the world.War and throughout ronments artists reject began to World after Immediately styles,avant-garde as such prior the onset of to activity in Europe new forms of SETTING THE SCENE SETTING you move through the guide. through move you Degen- Degenerate Art exhibition at the exhibition, which in the Sensation Degenerate Art Degenerate exhibition caused many artists their flee to exhibition caused many purpose of to display was to the exhibition or abandon their creative practice altogether. or abandon their creative from Federal Plaza in New York City in 1989,York Plaza in New Federal from and public Degenerate Art Art Degenerate Tilted Arc exhibition impacted the artist’s work and life in general. exhibition impacted the artist’s erate Art Brooklyn Museum of Art in 1999 (now the Brooklyn Museum), Brooklyn Art in 1999 (now the of Museum Brooklyn and destruction of the removal sculpture Serra’s Richard Emin.Tracy and of British artists Damien Hirst to the work As a class,reaction choose one of to the in art as it relates the topic of censorship the above examples and have a debate about individual case study. exhibition, Grosz, such as George Kandinsky, Vasily Chagall. or Marc Have each student write about the artist and one of his or her artworks included in the exhibition, a one-page report her inclusion in the and how his or the artist was from giving information on where artists) by posting color copies of the images selected by the students with contemporary within the school. or in a public area to it in your classroom next report each student’s with the idea that art can be censored or considered unacceptable today? With your students, With today? unacceptable or considered with the idea that art can be censored unacceptable. or considered art that has been censored discuss examples of contemporary as a class include the Some examples that you can explore • included in the an artist whose work was Ask your students to research • As a class, the work of these artists (or controversial an exhibition that celebrates create • why art may be censored. reasons Ask your students to brainstorm or disagree Do they agree of avant-garde, the with careers. promising The the artthe German public party that the and, deemed unacceptable essentially, ridicule to the artists. Eventually, of many the artworks in the following years traveled throughout Germany, throughout traveled following years destroyed. were The inclusion of in the their work homes, art, they created radically the way alter Beckmann, Dix and Max Otto is discussed in this guide, whose work included in the were exhibition.

4 SETTING THE SCENE LESSONS

LESSON ONE: Identity

I

5 LESSONS

IMAGE ONE: Otto Dix. German, 1891–1969. IMAGE TWO: Pablo Picasso. Spanish, 1881–1973. Dr. Mayer-Hermann. 1926. Oil and tempera on Girl before a Mirror. 1932. Oil on canvas, 64 x 3 1 wood, 58 ⁄4 x 39" (149.2 x 99.1 cm). Gift of Philip 51 ⁄4" (162.3 x 130.2 cm). Gift of Mrs. Simon Johnson. © 2007 Artists Rights Society (ARS), Guggenheim. © 2007 Estate of Pablo Picasso/ New York /VG Bild-Kunst, Bonn Artists Rights Society (ARS), New York

IMAGE THREE: Dorothea Lange. American, IMAGE FOUR: Alberto Giacometti. Swiss, 1 1895–1965. Migrant Mother, Nipomo, California. 1901–1966. Man Pointing. 1947. Bronze, 70 ⁄2 x 1 9 3 3 1936. Gelatin silver print, 11 ⁄8 x 8 ⁄16" (28.3 x 40 ⁄4 x 16 ⁄8" (179 x 103.4 x 41.5 cm). Gift of 21.8 cm). Purchase Blanchette Hooker Rockefeller. © 2007 Artists Rights Society (ARS), New York /ADAGP,Paris s, portrait in these . of time. their They mood , and portraiture by Otto Dix (Image One). Ask your expression ty how them and will means to consider , , both individual and social, under came volutionized the concept of the concept volutionized identity. France and Britain, and France developments intellectual ws that penalized individualsws that penalized on their based gesture social and political realities realities social and political identity , . pose , Dr. Mayer-Hermann, collage costume and political reasons.and political Germany, In Italy, Poland, Russia, and other In this lesson,In will students identi discuss what and the artist’s stylistic choices. and the artist’s and social realities Ask students what political How would they define their own identity? they face that have an impact on their identity. other aspects of their lives impact What their identity? this term using their comments. is complete, Once this definition have your students write it in their journals. the lesson, As you move through to or your students to add encourage change this definition. when they choices people make Ask your students to consider the is being taken, or their picture is being created know their portrait paying particular atten- tion to costume, pose, and expression. of Ask your students to collect old photographs ways, them in different new ones that capture themselves or create and have each student an individual identity create students to describe what they see in this portrait, paying particular attention to costume, pose, gesture, expression, and mood. ent artists reflected on an individual’s identity by creating a portrait that in some way a portrait identity by creating on an individual’s ent artists reflected likeness. the sitter’s captured will four artists—Otto Dix, then discuss how Picasso, Pablo Lange, Dorothea and Alberto identities in individual and universal Giacometti—represent • collective identity in portraits. individual and represent Students will consider how artists • to historical context. in relation Students will consider artistic choices DISCUSSION INTRODUCTORY •“identity” of what the term Ask your students to give some definitions means to them. •“portrait.” Ask your students to explain the term On the board, a class definition for create • four differ- Inform your students that in this lesson they will be exploring the ways in which DISCUSSION IMAGE-BASED • Show your students the image of political and religious beliefs and identities. beliefs and religious political and In in the fields of re and psychoanalysis philosophy European nations, European la enacted governments LESSON OBJECTIVES • experience. to their own the concept of identity in relation Students will consider • Students will consider and discuss portraiture. • Students will discuss the scrutiny for intellectual for intellectual scrutiny the by affected their own identities are INTRODUCTION During interwar the period, idea of the

6 LESSONS 7 LESSONS 22 commis- style prior Girl before (April 2004):(April 111. Expressionist 2 and the overall mood of the and the overall depicts Picasso’s young girlfriend, young depicts Picasso’s Art in America America in Art MoMA: Magazine of Magazine MoMA: of The Museum Art Modern figure . style social this realistic they In created th of France. may Walter is thought It that ix painted Mayer-Hermann in the doctor’s Mayer-Hermann ix painted ty, Mayer-Hermann was forced to leave Ger- ty, leave to was forced Mayer-Hermann personal attribute depicted. was presented It s immediately following World War I,DixWar and World following s immediately gan to paint in a realistic style be paint in a realistic that came to gan to as the large circular X-ray apparatus above him apparatus above X-ray as the large circular portraits of individuals in a highly style realistic uired his portraituired the public. it to and was displaying Girl before a Mirror Girl a Mirror before said of works,“I these things as they depict to really wanted Neue Sachlichkeit (New Objectivity) (New Sachlichkeit Neue (Image Two).(Image of Dr. this painting to the portrait Ask your students to compare Mayer- Later, in the 1920s, during this portrait, the period in which he painted Dix began to 1 ed Dix to paint his portrait,ed Dix to of although he was aware realistic, the objectively satirical- As a prominent Jewish figure in Berlin socie figure Jewish a prominent As sides or two ideas. with this idea. Ask your students if they agree Ask them to discuss any dual elements in this painting. a Mirror Hermann, of the in terms of the pose and expression support their answers with visual evidence. support their answers this way? do your students think he may have reacted Why clues about the subject of this portrait and his identity. and the subject of this portrait clues about painting. the subject of this portrait? Wilhelm Mayer-Hermann,Wilhelm in Sabine Rewald, quoted You?” Can I Hurt “How Otto Dix,Otto Hauptman, in Jodi quoted Giver,” Form “Philip Johnson: MoMA’s move away from political satire to focus on to political satire from away move of painting. Marie-Thérèse Walter. portraits Marie-Thérèse many of Picasso created Walter. this particular painted He portrait in 1932 in his summer home in the Sou child when this portrait was painted. with been pregnant the artist’s have (1996): 20. 2. 1. Inform your students that the portrait your Inform • This painting has been described as an image of dualities, of two meaning a representation • have felt this way about his portrait. Ask your students why the doctor may • Picasso’s a moment to look closely at the image of Pablo Have your students take Dr. ear, was a prominent Mayer-Hermann Wilhelm nose, who doctor throat and • painting. to be a realistic if they consider this portrait Ask your students they sure Make • do they think the sitter, reaction What Dr. Mayer-Hermann, saw this image? had when he first to his participation in World War I.InWar the year World his participationto in a number of be in Berlin contemporaries his known as ofsatires postwar Germany. Dix were.” sion seeming style in at that time. that Dix painted D with accessories,office his professional such examining patients. when wore lightand the circular on his head that he most likely The little finger is the only blue ring on the doctor’s of upon his completion Mayer-Hermann to medical school, his father. by • viewer with the provide the painting that other elements in students to identify Ask your in an a German artist that Dix was students who worked your Tell many in 1934,many City, rule. fleeing Nazi York New to his wife he moved and daughters With until his death, he lived where in 1945.York, New to moved the time the doctor At The ofMuseum Art acq Modern had already view to his portrait com- visiting overhear the Museum and to greatly enjoyed The doctor it.ments that people made when looking at of said He these visits,“If me recognized anyone the picture,from me as a patient!” to come never they would • do the clues of costume, What pose, gesture, expression, and mood tell your students about refers to the cos- to refers background Migrant Mother,Migrant Nipomo, Cal- Migrant Mother, Nipomo, Califor- of the identities of por- through their sitters ves ofves migrant for agricultural workers photographs Lange created portraitsphotographs Lange created of n of the RA, the FSA, folded into later hired pattern the introduction ofthe introduction new industrial machinery, nt Administration (RA) and the Farm Security (RA) and the Farm nt Administration s for the larger community identitys for the larger community and its social symbol that Picasso often used to represent or refer to himself. to or refer represent used to that Picasso often This idea s of and sculpture, photography larger questions of approach to motif ,a ,a medium harlequin in 1936, of photographing she had begun the harsh social realities after the Great ,Three). Lange (Image by Dorothea depicted main figure Have your students describe the having in the above exercise. individual concerns or could they have also Do these seem like of a community? How could this image be reflective been the concerns of this woman’s to the image. in relation Ask them to explain their responses community identity? larger nia in this image. woman would say if she could speak. image. background pattern have on the overall image? Ensure that your students support their Ensure image? overall pattern have on the background the painting. evidence from thoughts and ideas with this image. Picasso used to create students how they would describe the style Ask them to with visual examples. support their responses rated these oppositional elements.rated of her their interpretation do these choices affect How image? • mother Ask your students to discuss some of the concerns that they identified the migrant Inform your students that the artist Dorothea Lange created artist students that the Lange created your Dorothea Inform ifornia (1929–39) in America.Depression this photograph, the time she took At she had been trav- eling in rural photographing California li the difficult ofphotographers document the lives to leave to who had been forced agricultural workers factors, several their farms due to including the Depression, and drought. her RA and FSA In individuals that then become concerns. • in the image of your students a few minutes to take Give of Picasso is further to supported in this portrait a hidden reference that the the colors by artist pattern. used for the diamond of the colors are and red Yellow the flag of Spain, country ofPicasso’s birth. the Dix and Picasso depicted just examined how We • Give each student a sheet of paper.think the your students write down what they Have • to their observations of the their ideas and explain them in relation Have the students share Resettleme government’s States the United (FSA).Administration Divisio The Information •does the effect What the portrait? have chosen to include this pattern in may the artist Why • of Dr. style in his portrait how Dix used a realistic explored We Mayer-Hermann. Ask your It has been suggested that the diamond-shaped has been suggested It tume of a traiture. used the artists we will Lange and Alberto Giacometti discuss how Dorothea Now portraiture, in the identity—the identity of and of a social group their historical contexts. by people impacted • that incorpo- Walter of a portrait to create may have chosen students why Picasso Ask your • of the image. the background students describe Have your

8 LESSONS Share the following quote by Lange, explaining her working process at the time she created this work:

My own approach is based upon three considerations. First—hands off! Whatever I pho- tograph, I do not . . . tamper with or arrange. Second—a sense of place. Whatever I photo- graph, I try to picture as a part of its surroundings, as having roots. Third—a sense of time. Whatever I photograph, I try to show as having its position in the past or in the present.3

• Ask your students to discuss this work in terms of the pose and expression of the sitter, the setting and mood of the image, and the time period in which the image was taken—aspects that Lange stated, in the above quote, were central to her creative vision for her portraits.

9 Lange later recounted her conversation with the subject of this portrait: LESSONS

[The mother] was thirty-two and . . . she and her children had been living on frozen veg- etables from the field and wild birds the children caught. The pea crop had frozen; there was no work. Yet they could not move on, for she had just sold the tires from the car to buy food.4

• Ask your students to identify how Lange’s story about the subject of Migrant Mother, Nipomo, California relates to their discussion of the image.

• Ask your students to define the term “sculpture.” Ask them to describe some differences between looking at a painting and looking at a sculpture. As a class, brainstorm some materials and techniques that sculptors use to create their artworks. Tell your students that the next image they will see will be of a sculpture created in 1947 by the artist Alberto Giacometti. Tell them that just as Lange created portraits of individuals that reflected larger social concerns, Giacometti was interested in creating sculptures that had meaning for all people.

• Show your students the image of the sculpture Man Pointing, by Giacometti (Image Four). Have them describe the figure depicted in the sculpture, paying attention to pose, gesture, expression, and mood.

• Based on their visual analysis of Man Pointing, ask your students if they can tell how Giacometti created this figure or identify the materials he used.

• Inform your students that the material is bronze, and that the artist first created a plaster mold to pour the bronze into and allow it to set. How does this description of the artist’s material and process match their own hypotheses?

Giacometti created this sculpture in 1947, following the end of World War II, when he was living in Paris. At this time Giacometti was friendly with writers, artists, and philosophers who ascribed to Existential philosophy, including Jean-Paul Sartre, Simone de Beauvoir, and Samuel Beckett. Existentialism is a philosophy that developed out of a “crisis of the individ- ual” during the interwar years and World War II. Existentialists were concerned with their relationships to themselves and to the external world, and with the increased sense of isola- tion in the modern environment.While Giacometti never officially declared himself an Exis- tentialist, he did associate with many who did, and his sculptures are often interpreted as reflecting Existential philosophy.

3. Dorothea Lange, quoted in Therese Than Heyman, Celebrating a Collection: The Work of Dorothea Lange (Oakland, CA: The Oakland Museum, 1978), 60. 4. Dorothea Lange, paraphrased in Karin Becker Ohm, Dorothea Lange and the Documentary Tradition (Baton Rouge, LA: Louisiana State University Press, 1980), 79. Sartre,one of the leaders of the Existentialist movement,wrote about Giacometti’s sculpture:

Before him men thought they were sculpturing being, and this absolute dissolved into an infinite number of appearances....Each of[Giacometti’s sculptures] reveals to us man as he is seen, as he is for other men, as he emerges into interhuman surroundings.5

• Give the above description of Existentialism to your students and ask them if there are any connections they can make between Existentialism and this sculpture.

• The tall figure in Man Pointing, like many in Giacometti’s sculptures of the 1940s, is isolated, without any setting. Give each student either a piece of paper with a photocopy of the sculp- ture in the center or, alternatively, a blank piece of paper. Have students make a sketch or 10 write a description of an imagined background that would be a suitable setting for this LESSONS figure.

• As a group, have students discuss why they chose a particular setting to place this figure into, relating their ideas back to Man Pointing.

• Giacometti worked with live models to create studies for his sculptures and drawings. He also spoke of representing the underlying realism of all humankind, rather than one specific individual. Ask your students if Man Pointing fits their idea of a portrait. Ask them to explain their reasons.

• What qualities does the sculpture have that relate to an individual? What qualities seem more universal?

• As discussed, Lange and Giacometti were both interested in creating images of individuals that captured the essence of larger concepts of identity. Ask your students to compare and contrast the different ways in which Lange and Giacometti achieved this goal.

ACTIVITIES 1. Research a Portrait Using Web resources, ask your students to research the subject of Lange’s Migrant Mother, Nipomo, California, now known to have been Florence Owens Thompson. Ask your students to describe the ways in which their analysis of the image compares with their findings about Thompson’s life.

2. Biographies and Portraits Have each student choose one of the portraits in this lesson and write a one-page biography of the sitter based on their observations and discussions of the artwork.

Ask students who chose to write on the same artwork to organize themselves into groups of three. Have students discuss how their biographies are similar and different and back up their ideas with examples from the artwork.

Many other photographers have documented the lives and concerns of people in the United States and throughout the world. Have your students research the work of an artist such as Auguste Sander, Robert Frank, Diane Arbus, or Lee Friedlander, who documented the social and political realities of their times.

5. Jean-Paul Sartre, “The Search for the Absolute,”in Charles Harrison and Paul Wood, eds., Art in Theory: 1900–2000; An Anthology of Changing Ideas (Oxford: Blackwell, 2003), 613. 3. Create a Portrait Have your students each choose a friend or family member to create a portrait of. As a class, brainstorm the different mediums that students can use to create a portrait, including paint- ing, drawing, collage, sculpture, and photography.

As a class, discuss the various stylistic choices students will need to make about how the por- trait will appear—possibilities include realistic, abstract, caricature-like, and surreal—in order to represent the sitter the way they wish. Tell your students that all of the artists in this lesson based their artworks on sketches and studies of real people as well as their creative imaginations. Encourage students to make quick sketches of their sitters. Then have them create their portraits, either in class or as a take-home assignment.

11 Have students write short paragraphs to accompany their completed portraits, explaining LESSONS their artistic choices and outlining how their portraits reflect their sitters’ identities. Create an exhibition of these portraits in your classroom or another location in the school. " 4 ⁄ " 1 8 ⁄ 3 " x 39 4 ⁄ " x 45 3 4 ⁄ 3 " (73.3 x 50.5 cm). 8 ⁄ 7 x 19 8 ⁄ 7 . 1932/1933–35. Oil on Gustav Klucis.Gustav Latvian, 1895–1944. Departure Max Beckmann.Max German, 1929. Gravure, 28 The Development of Transportation, The Five-Year Plan. Purchase Fund,Purchase Collection Tschichold Jan IMAGE FIVE: IMAGE canvas, panels, three side panels 7' 1884–1950. IMAGE SIX: IMAGE (215.3 x 115.2 cm). (by anonymously Given exchange). © 2007 Artists Rights Society (ARS), York /VGNew Bild-Kunst, Bonn (215.3 x 99.7 cm), panel 7' center LESSON TWO: Movements Modern

LESSONS 12 LESSONS 13 1940–41. 1940–41. on gesso Tempera Jacob Lawrence.Jacob American, Jacob Lawrence.Jacob American, Jacob Lawrence.Jacob American, The World War had caused had a great War World The The railroad stations in the South The railroad Another ofAnother the social causes of the ous life. Also, in tech- new developments 1917–2000. shortage in Northern industry and also citizens of foreign countries returning were home. Tempera on gesso on composition board, on gesso on composition Tempera 12 x 18" x 45.7 cm). (30.5 Gift of Mrs. M. David Levy. Lawrence © 2007 Jacob IMAGE NINE: IMAGE IMAGE SEVEN: IMAGE EIGHT: IMAGE 1917–2000. crowded withwere people leaving for the North. 1940–41. on gesso on composition Tempera board, 12 x 18" (30.5 x 45.7 cm). Gift of Mrs. M.David Levy. Lawrence © 2007 Jacob 1917–2000. migrants’ leaving was that at times they did not feel safe, it was not the best thing to be found on or the streets late at night. They arrested on the were slightest provocation. board,on composition 12 x 18" (30.5 x 45.7 cm). Gift of Mrs. M. David Levy. © 2007 Jacob Lawrence rs how artists reflected upon these physical artistsrs how reflected ed the possibilities for travel, allowing for a hange. Artists among the people who were tween nations in search oftween nations in search freedom, hope, or their homes for political or religious reasons, nology during and after World War I improv War nologyWorld during and after ease ofgreater and cultural exc movement migrated within one nation or emigrated be new cultural experiences. This lesson conside of in their artworks and examines the role movements in artworks narrative dealing with this theme. and others moved in the hope ofand others moved prosper a more INTRODUCTION in the number of was an increase During there the interwar years people who migrated and emigrated. leave to forced Some people were ,by . technique , he was working , and , painting cycle, a and a ing posters in 1935. ing posters The form , . triptych the production, transport, and sale of narrative Art began collect subject matter tist who created this poster,tist who created was a member esigned to inform the public that due to the esigned that due to inform the public to en as representing a meeting point between fine a meeting point between en as representing The Development of Transportation, The Five-Year Plan The Development of Transportation, The Five-Year , Revolution, and he participated in the October in 1917. 1929, In The Development of Plan Transportation, The Five-Year ansportation in the Soviet Union, Communist Party Communist design object. of the imagery. some way with modern movements.some way with modern that people the reasons Have your students brainstorm house to house,today move from city, city to country to country, and and their modes of movement. period. distances have changed since the interwar they most commonly encounter posters.students where Ask them to describe the types of contain and summarize the purpose of posters. imagery and messages posters of art. Ask them to explain their ideas with examples. Gustav Klucis (Image Five). in the image. minutes to take Give your students a few poster is communicating. their ideas, Have each pair share supporting them with evidence the image. from these objects reflected upon movement through upon movement through reflected these objects • multipanel artworks in terms of Students will discuss • with their earlier discussion Ask your students how this description of the poster compares INTRODUCTORY DISCUSSION INTRODUCTORY • in concerned they will discuss works by artists who are your students that in this lesson Tell • people move in their daily lives and over long your students to discuss how the ways Ask • image they will view in this lesson is a poster. your students that the first Tell Ask your • works can ever be considered think that posters your students to discuss whether they Ask of the when Klucis created Inform your students that Klucis, your Inform ar the Russian • viewing a varying experiences of will consider the Students artand utilitarian art, design objects. many as are the Department this reason of For Archi- of and Design at The Museum tecture Modern of vast collection holds a now Museum posters. modern • Show your students the image of • your students work in pairs. Have that this Ask each pair of students to describe the message House. Publishing regime in the State Stalin’s in Joseph was part This poster of an official Plan. Five-Year being made in transport the advances Stalin’s by campaign propagandize to Plan,implementedThe Five-Year in 1928, of the production increase to measures contained steel, iron, augment and to the industrialization coal and of the match to the Soviet Union ofstandards other nations.d was The poster modernization of tr Tell your students that posters are often se often are students that posters your Tell LESSON OBJECTIVES • the artists who created and consider how and two paintings will examine a poster Students goods had increased.

LESSONS 14 LESSONS 15 Ask them . and their Degenerate Art Degenerate (Image Six) Departure , of many like his works, Departure Departure mbining photographs, graphic images, to be a reflection of be a reflection to this period of move- (Cambridge, MA: Press, University Harvard 1970), 16. a popular technique for creating posters for creating a popular technique es. in his work, this universality achieve To this poster, known as used a technique then in Amsterdam, and finally in the United Divide your class into three groups.Divide your class into three Have each t Beckmann’s artwork,t Beckmann’s which was very well 6 before he left Frankfurt,before completed and he later ckmann also lost his teaching position at the ckmann also lost his teaching assumed power in Germany in 1933, in Germany assumed power Beckmann’s is paintings were later included in the later is paintings were Departure Max Beckmann’s Triptychs Beckmann’s Max Art in Frankfurt to permitted and was no longer Institute) ckmann was a German artistWorld briefly who participated in , co image by an in which he created By 1932,By work, party Beckmann’s the Nazi censored before a year clear to it was already group take one panel of the triptych and create a description of what is happening in the one panel of the triptych and create take group panel, attention to narrative, paying particular composition, mood. and between the panels. and differences of the triptych? graphs, images, graphic that tells the story of a move a photomontage and text to create vacation in another place. they experienced or a elements. to describe some of the artwork’s parts together.” by the three be understood does the imagery in this poster compare with what they know of Stalin’s regime during the during regime Stalin’s what they know of with compare in this poster does the imagery late 1920s? knowledge of Beckmann’s story,knowledge of Beckmann’s have suggested that this to speculate why many viewers life. personal to Beckmann’s painting is related Max Beckmann,Max in Charles Kessler, quoted speaks to the larger realities of realities the larger speaks to all times and plac used symbolicBeckmann often imagery based on mythology. express he could this way In • their description of their panel. present Have each group As a class, the similarities discuss • narrative other and to the overall to each in each of the panels relate How do the narratives 6. The artist one story, said that rather than representing • Ask your students, based on their visual observation of the triptych ment in the artist’s life. ment in the artist’s Inform your students that Be your Inform War I,War effect on him. an experience that had a profound 1920s, the By museums and private collec had begun to in Germany collectors received. However, party whenthe Nazi of and the work work artists, other avant-garde many Dix, including Otto removed were public museums in Germany.from Be (State Städelsche Kunstinstitut in public collections.exhibit his work H in Berlin.the work the painting is considered Today, and text in one composition.and text was Photomontage of movement avant-garde during the Russian the 1920s and 1930s. • of movement and transportation, with the theme In keeping photo- ask your students to use DISCUSSION IMAGE-BASED • triptych Beckmann’s Show your students the image of Max • said of this work, Beckmann [panels] belong together . “The three . . the meaning can only exhibition, in 1937. Frankfurt find the safety to and seclusion he needed to leave to the artist have that he would paint. to continue found it first in Berlin, He States. paint to Beckmann began • guide. beginning of this at the the timeline they created your students consult Have How students that Klucis, your Tell creating in photomontage 7 The Migration The Migration . they sup- sure Make (Images Seven,(Images Eight, and Nine), Ameri- ions offered by the industries by ofions offered northern The Migration Series ical realities ofical realities his ownplace. time and Read ributed to the migrationributed to of African American rries the greatest treasure—Freedom—as her rries treasure—Freedom—as greatest the that matters—it is departure,that matters—it the new start. and e the social structure ofe the social structure the South, which, in the , ask your students to develop a hypothesis about ckmann, of explains the figures which king, queen, ing information about Lawrence and ing information about Lawrence Departure Departure: ill very on racial much founded segregation. They also wanted The Migration SeriesThe Migration The Migration Series communicates one story,communicates of it is composed yet parts with distinctive three their . your students to copy the inscriptions and consider their meaning. Ask images Project The series is a visual narration of the history of the mass migration of African Amer- Series There were a number of were There that cont factors port their comparisons and contrasts with examples from the paintings. with examples from port their comparisons and contrasts the three panels.the three Based on their visual analysis of the panel, its inscription, and the informa- about tion provided mann’s images.mann’s As a class, to the dis- triptych that relates for this try to construct a narrative panels. elements of the three cussion of the visual The King and the Queen have freed themselves, freed Queen have and the The King of themselves freed of the tortures life— them. overcome they have The Queen ca child in her lap. is the one thing Freedom the scenes that could directly precede and follow the panel they have chosen. precede the scenes that could directly Students must support their hypotheses with visual evidence. social realities.reflect the ways the artists explore and contrast Have your students compare in movement and social realities of the three panels and ask your students to match each inscription to an image. panels of the three your Ask using visual evidence. students to explain their reasoning images together. Ibid., 16–17. • or four students, of three Divide the class into groups to choose one of and ask each group can artist Jacob Lawrence tells a story over the course of the course a story tells over Lawrence can artist Jacob sixty individual panels. Provide your students with the follow your Provide Departure own narratives. Similarly, in • On the board, of panels write the inscriptions that accompany the three your students the following quote by Be by students the following quote your panel of in the central and baby • such symbols, Due to his use of in Beck- the narrative to interpret it is often very difficult his view of the social and polit issues and world • tell stories of movement in their artworks, Both Beckmann and Lawrence and their artworks • or visual similarities that connect these three Ask your students to identify the themes Series. northeastern to urban southern states centers,icans from York, Pittsburgh, such as New and City,Atlantic between 1900 and 1930. own family was part of Lawrence’s the migration. As child,a young City, in Atlantic lived Lawrence Jersey, New Philadelphia, and his before City.York this series, In in New family finally settled in Harlem visually commu- Lawrence of the realities nicates the to listening as he had learned about it from this migration process ofrecollections family, neighbors, friends, orators. and street the railroad. and by urban centers making this series, In individu- to a voice gave Lawrence been told. als whose stories had not yet people to the North.people to escap to desired Many early twentieth century, was st condit and social economic pursue the better to 7.

LESSONS 16 LESSONS 17 not The Migration The Migration Series.The Migration er, the inside or outside The Migration SeriesThe Migration the diversity ofthe diversity experiences student ies in northern urban centers, sto- telling it on the blackboard. each student to Ask ve your students research other prominent students research your ve udents traveled togeth udents traveled panels in The Phillips Collection document the Collection panels in The Phillips ers, in the 1930s and in Harlem and artists lived nt write a one-page essay describingnt write the panel, a one-page essay ction of panels of twenty-seven the other in MoMA’s collection,in MoMA’s www.moma.org/collection. at students that your to Explain 1940s, the explosion to due Renaissance be known as the Harlem to a period that has come of cultural and political activity at the time. Ha Renaissance. artists the Harlem to and writers contributed who 2. The Harlem Renaissance poets, students that many your Inform writ discussed in detail above. each stude Have summarizing the story tells, it the larger story it to of and connecting a class,As brainstorm about a time when the st ACTIVITIES Story-telling words images and through 1. a sele to students your Introduce Series another thirty are there Collection, in The Phillips panels located Washington, in D.C. The narrate the story collection ofpanels in MoMA’s and racialhardships injus- economic the the South and migrate their homes in in search Africanthat inspired Americans leave tices to of in the North. lives prosperous more The ofrealities the migrants’ newly communit formed ries of and frustration. hope narrating In sixty this story panels, over an created Lawrence epic; as an individual painting. each panel can also be read panels of the fifty-seven from students choose one image your Have school; story summarize the overall and write a three-part image or poem,create using either drawings or words, the that communicates phases ofdifferent this story. a single panel with make Then ask each student to a short text they school. where go after that reveals the classroom, In of a display create the school-day images,images and the after-school and as a class discuss within and beyond the school. within and beyond " x 2 ⁄ 1 Assembling for a Demon- Aleksandr Rodchenko. . 1928–30. print, Gelatin silver 19 " (49.5 x 35.3 cm). Mr. and Mrs. John 8 ⁄ 7 Russian, 1891–1956. stration Spencer Fund Fund Spencer IMAGE TWELVE: IMAGE 13 " x 8' 3" . 1937. 4 ⁄ 1 Echo of a Scream David Alfaro Siqueiros. Alfaro David 1921. Oil on canvas, 6' Fernand Léger.Fernand French, 1881–1955. LESSON THREE: Action/Reaction: Art and Politics Action/Reaction: LESSON THREE: Enamel on wood, 48 x 36" (121.9 x 91.4 cm). Gift of M. Edward M. Warburg. © 2007 David Siqueiros/Artist’sAlfaro Rights Society (ARS), York /SOMAAP,MexicoNew Mexican, 1896–1974. IMAGE ELEVEN: IMAGE IMAGE TEN: IMAGE Women. Three (183.5 x 251.5 cm). Mrs. Guggenheim Simon Fund. © 2007 Artists Rights Society (ARS), New York /ADAGP,Paris

LESSONS 18 INTRODUCTION Following the outbreak of World War I, avant-garde artistic practices that had been devel- oped to challenge traditional means of representation (Cubism, for example) lost their res- onance with many artists, who felt that their abstract fissures and voids were too removed from current political and social realities. A number of artists, including Pablo Picasso and Fernand Léger, rejected Cubism and sought a more suitable means of representing the world around them. This lesson takes as its focus works of art that were created by artists in direct response to the war and to social turmoil in their environments and in the world.

LESSON OBJECTIVES • Students will examine three images that represent different ways that artists, in the years 19 between World War I and World War II, responded to the social and political turmoil around LESSONS them.

• Students will discuss these images in terms of subject matter, composition, style, and representation.

INTRODUCTORY DISCUSSION • Ask students to brainstorm ways artists can react against and/or respond to the social and political times they live in. Create a list of their responses on the board.

• Ask students if they have ever created a response to the wars or social turmoil of their times in their artwork. Ask them what decisions they made or might have to make. Where did they get their ideas and their information about the issue? What medium did they choose to rep- resent their ideas?

IMAGE-BASED DISCUSSION • Ask your students to take a minute to look closely at the image of Fernand Léger’s painting Three Women (Image Ten). Ask your students to write down five words they immediately think of when they look at this work.

• Ask each student to tell the class one of the words they wrote down and to explain briefly why they chose that word based on what they see.

• Ask students to describe in greater detail the figures, objects, and background in Three Women. What are some of the stylistic choices that Léger made in creating this image? Students should support their ideas with evidence from the image.

Inform your students that prior to World War I, Léger was a leading Cubist painter. He cre- ated images of cities, people, and objects that were fractured into geometric shapes and jux- tapositions of bright colors. Three Women represents a dramatic shift in Léger’s artistic style. It is thought that this shift was a direct result of the artist’s experiences in World War I, between 1914 and 1918. In the postwar years Léger looked to Classical art to inform a style of modern art that would be suitable for a new, more stable, machine age that would replace the “mechanical period” of World War I. Léger said of this shift, “I had broken down the human body, so I set about putting it together again and rediscovering the human face.... I wanted a rest, a breathing space. After the dynamism of the mechanical period, I felt a need for the staticity of large figures.”8

8. Fernand Léger, quoted in Carolyn Lanchner, Fernand Léger (New York: The Museum of Modern Art, 1998), 188. Three Women, , it when to and refer ask your students for , by Aleksandr Rodchenko by David Alfaro Siqueiros (Image Siqueiros Alfaro by David Echo of a Scream, ch as nude female figures, still lifes, and and chanized visual language.“Thecontemporary ). and other artists Léger revisit art began to his- and ‘mechanical’and object: subjugating this is slowly me of and similarities between the the differences Assembling for a Demonstration Three Women. Three Women. Echo of a Scream, Assembling for a Demonstration Three Women rappel à l’ordre rappel Questionnaire Siqueiros filled out, Siqueiros Questionnaire in 1970, the Department for of and Sculp- Painting Ask your students to comment on the artist’s statement.Ask your students to comment on the artist’s How does this 10 Léger wanted to re-create Classical or traditional subjects of art history for Classical or traditional Léger wanted to re-create 9 Three Women

This quotation comes from the Artist from This quotation comes statement relate to the visual evidence in the image? Do they think the artist was successful statement relate in achieving what he wished to in this painting? (Image Twelve).(Image the title. Do not tell them modern scene. with visual evidence. Have your students support their answers at the work in more that they would add to their lists after having looked any words there detail? define the term “abstraction.”term define the of this painting they consider any elements Ask them whether to be abstract. of the image,paying particular attention to the composition the depiction of figures, and the setting. cally motivated artist. He said of this painting,that they “It is a call to all human beings so may end all wars.” “staticity” in describe the figures to Eleven). the imagery in this painting to Léger’s Ask your students to compare their initial ideas about how Siqueiros’s reactions to his political and social times differed to his political and social reactions their initial ideas about how Siqueiros’s Léger’s. from the modern machine age, a new visual language. through also included machine Siqueiros imagery in his painting. Ask your students how the artists’ use of the machine in their and how their views on a postwar machine age may have differed.imagery differs Do they or disagreed? would have agreed think Léger and Siqueiros Ibid., 190.

tory or traditional and paint Classical subjects, su portraits. instance, For chose the Classical subject of for this image Léger nude in a reclining a domestic setting. However, a Classical style, rather to than reverting Léger sought rep- to traditional subjects withresent modern, a me the manufactured is clearly environment and curves ofthe breasts woman, fruit, the soft landscape—inspiration of art since painters began, he said.” • on a visual comparison of Based • Show your students the image of 9. 10. Create a list on the board to describe so to a list on the board Create experiences of and viewing creating photographs and paintings. this list on the board Keep the discussion of through move as you of at The Museum ture Art. Modern appropriate. • or the subject of this image to be a traditional Ask your students whether they consider • As a class, to this image. their five initial responses back to the students’ lists of refer Are • Show your students the image of • the war, Before painting. in his in abstraction was very interested Léger your students to Ask new style of students that Léger’s your Inform be came to painting in the postwar years order”( to return “a known as • Inform your students that Siqueiros, of the leading Mexican Muralists, one was a very politi- • to discuss, Ask students painting, of the imagery in the in terms use of the word Léger’s • In LESSONS 20 LESSONS 21 11 . on and Experiement,”in Magdalena little, its true) the normal psy- Assembling for a Demonstration for the new world, of world the industry, (New York: of(New The Museum Art, Modern 1998), 23–24. which he considered to be more accessible be more to which he considered s, the specially designed and plants, factories a Russian artist who,a Russian the October following ical in its motivations and varied in its use of ical in its motivations em that only the camera is capable of reflecting hosen work. their poem share to each group Ask d, of the mediums he explored printmaking, film, the new man; him but did not imagine we felt him “Rodchenko and Photography’s Revolution,”in Dabrowski, and Photography’s “Rodchenko Dickerman, and Dabrowski, “Aleksandr Rodchenko:Dabrowski, “Aleksandr Innovati Aleksandr Rodchenko Rodchenko Aleksandr ...have redirected (only a a (only redirected ...have 12 , 122. Aleksandr Rodchenko Aleksandr Aleksandr Rodchenko, Galassi, in Peter quoted Aleksandr Rodchenko, in Magdalena quoted real world through different vantage points, different world through real or points of view. Ask your students to identify was when he took this photograph. the artist where that this type of pho- your students Tell as photographers and was popularized during the war an aerial perspective uses tograph airplanes. from pictures began to take and political times in their artworks. Ask your students to discuss these works in terms of of approach. similarities and differences The modern city with its multistory building Ask them if knowing the title changes their idea about what is depicted in this photograph. Ask them if knowing the title changes their and three-storythe two- windows, the streetcars, automobiles, signs illuminated and bill- boards, oceanliners, airplanes the scene? chology of visual perception. se would It contemporary life. 12. Dabrowski, Leah Dickerman, Galassi, and Peter 11. Ask your students to each choose one word that they added to their word bank over the bank over that they their word added to each choose one word students to your Ask ofcourse of on a piece the lesson and write that word card. white students into Divide your ofgroups with their cards their groups. share six and ask them to choose each group Have one of this lesson and, the artworks from together, assembling their words a poem that create against their c or reaction to is a response ACTIVITIES Poem Create a Word 1. with the class. • the ability to capture in photography’s was very interested your students that Rodchenko Tell • and mood of this photograph? vantage point affect the composition How does Rodchenko’s • Léger, Rodchenko, social to contemporary against or responded either reacted and Siqueiros to a broader public. a broader to Speaking of photography, said, Rodchenko • titled this photograph your students that Rodchenko Tell Inform your students that Rodchenko was Rodchenko students that your Inform ofRevolution 1917, became a member of Party. the Communist Ofpolitical involvement, artists’ his and fellow said, Rodchenko were “We technology and science. for were We clearly. . . . a new understanding of created We beauty, art became increasingly polit Rodchenko’s of and enlarged the concept art.” mediums. 1921, In up painting, he gave in the deeply rooted be too it to as he considered bourgeois society that he rejected. Instea collage, photomontage, photography, and all of • photograph. the scene in the students to describe Ask your to artist in relation is the Where • image? in this captured is the action that Rodchenko What Galassi, magazine. your Have . students display your Have National Geographic Geographic National ents create a new background for the image, a new background ents create Echo of a Scream rary their they newspaper that feel speaks to the decisions students made or might have to made or mightthe decisions students have to the wars and social turmoil of the wars and social turmoil to their times. own times. mate- source to Students can refer lanations for their artistic choices. , a child was source whether the artist’s although it is disputed Echo of a Scream

3. Create Your Own Political Artwork Own Political 3. Create Your Léger, Siqueiros, responded and Rodchenko their to responses students create your Have rial such as newspaper and magazine imagery and artworks them. that inspire this Revisit regarding introductory conversation lesson’s issues. current art to in creating that responds make 2. Collage a Background 2. Collage the image of create material to photographic to source looked is known that Siqueiros It the child in screaming in a newspaper image of in a newspaper image screaming a newsreel in that was reproduced War the Spanish Civil or a photographof in a 1925 woman Kenyan a briefand provide their collages exp students choose one image from a contempo image from students choose one and social times. political own stud your Have did withas Siqueiros the image of the child in LESSONS 22 LESSONS 23 x 4 . ⁄ 3 . 1930. Oil on ldrich Rockefeller. Der Krieg (The War) (TheDer Krieg Otto Dix.Otto German, 1891–1969. from " (24 x 29.2 cm); sheet: 13 2 Charles Sheeler. American, ⁄ 1 American Landscape American x 11 16 ⁄ 7 " (35 x 47 cm). Publisher: Nierendorf, Karl 2 ⁄ 1 canvas, 24 x 31" (61 x 78.8 cm). Gift of Abby Aldrich Rockefeller 1924. and drypoint Etching a portfoliofrom of fifty some with etchings aquatint and drypoint, plate: 9 1883–1965. bei Langemarck (Februar 1918) (Near Langemarck 1918) (Near bei (Februar Langemarck [February 1918]) Berlin. Printer: Felsing, Otto Charlottenburg. Edition: 70. Gift of A Abby ©2007 Artists Rights Society (ARS),York / New Bild-Kunst,VG Bonn IMAGE FOURTEEN: IMAGE FIFTEEN: IMAGE 18 " 4 ⁄ 3 x 28 4 ⁄ 1 . 1926. Sand, gesso, André Masson. French, Battle of Fishes IMAGE THIRTEEN: IMAGE 1896–1987. oil, pencil, on canvas, and charcoal 14 (36.2 x 73 cm). Purchase. Artists © 2007 Rights Society (ARS),York /ADAGP,Paris New LESSON FOUR: Modern Landscapes LESSON FOUR: , by André fore- , was transformed by was transformed by Ask your students if the background Battle of Fishes landscape Battle of Fishes. the landscape throughout North America and North the landscape throughout ral the changing artistic landscape to responses ping into his subconscious thoughts. his subconscious ping into Only after s, the impact of and drawings that documented this painting in 1926, when he was a member of tomatism in his paintings,tomatism to and in 1926 he began , medium, and composition. , in which artists artworks thought without or intention. created conscious middle ground ,

automatism ground Masson (Image Thirteen),Masson (Image without telling them the title. of materials, choice artist’s colors, and subject matter. cussed in the conventional terms of foreground, middle ground, and background? used to create this artwork,used to create the painting. giving examples from title seems appropriate. based on visual Ask them to explain their reasons title would they give this work? What the image. examples from changes to the landscape.

•the changing landscape. to ways artists responded Students will consider the different DISCUSSION INTRODUCTORY •to closely examine the image of Allow your students a few minutes • see in this image, Ask your students to describe what they attention to the paying particular • of this landscape. your students to describe the arrangement Ask Can this landscape be dis- • what techniques and materials they think Masson may have Ask your students to brainstorm • Inform your students that the title of this painting is Inform your students that Masson created created students that Masson your Inform movement.the Surrealist of in a facet was particularly Masson interested known Surrealism as Masson,For drawing. automatic through this was achieved a putting begin by would He of a piece pencil to in mind, specific subject paper without any move his hand to and allow freely, believing so he was tap that in doing a significant number of himself he allow made would lines were images. develop to How- ever, au achieve he found it difficult to the paint tube and use glue and sand. from apply paint directly • painting. Masson’s Ask your students to imagine that they had the opportunity to rename several factors,several including the lingering of ravages indus- and the increased Europe) war (in trialization of rural and urban areas. sense of increased an created Industrialization individ- increasingly urbanized to landscapes. and contributed isolation in urbanualism and centers Artists photographs, made prints, painting the industrializationwar on the land and of Europe. seve reflect in this lesson works The during the interwar period. LESSON OBJECTIVES •reflect years during the interwar the ways paintings and prints created will discuss Students • images, Students will visually analyze landscape using such terms as INTRODUCTION During interwar the period, and American the European LESSONS 24 LESSONS 25 Near was some- cumstances could I could cumstances , Dix six by created ....War ....War The War Battle of Fishes. and suffered a seriousand suffered injury 13 (New York: of(New The Museum Art, Modern 1976), 30. (Image Fourteen). ....Under no cir no ....Under the explosions of shells which literally bei Langemarck (Februar 1918) (Near André Masson Masson André ounted the effects of the effects ounted on the injured his time his wartime drawings, newspaper and many create the series,create such resources on Dix drew man artist and a volunteer machine-gunner in man artist and a volunteer the flashes of this and rockets—all the projectiles Der Krieg (The War) (Munich: Villa Stuck, Museum 1985), 280. from from asson fought in World War I War World asson fought in , is part of a graphic series titled eless something powerful Rubin and Carolyn Lanchner, and Carolyn Rubin 14 Otto Dix, 1891–1969 Otto Dix,Otto in quoted André Masson, William in quoted thing horrible, but noneth some- know to in order is necessarymiss it! It see people in this unchained condition to thing about man. War is something animal-like:War hunger, lice, slime, these crazy sounds of Dix’s work. of Dix’s war. war or was critical an image that celebrated Do you think the artist wanted to create in terms of the image. their responses Ask your students to explain of it? their thoughts. share emerge in Masson’s automatic drawings. in Masson’s emerge is any evidence in this Ask your students if there experiences influenced his artistic practice. wartime painting that Masson’s Ask your stu- the painting. with examples from dents to support their responses their webs of lines into scenes.two minutes transforming their final images Have them share and discuss the types of scenes that they created. group with the entire that Do they agree such drawings? from meanings can emerge Langemarck [February 1918]) the image. with visual evidence from interpretations The indescribable night of the battlefield, bright in every by and direction red streaked rockets,green and the wake striped by by fairy-tale-like was orchestrated entrenchment with me encircled earth and shrapnel. see all that, To upward, face immobilized body one’s on a stretcher, of instead dog in the a like down head as in the fighting one burrows where shell craters, situation. a rare and unwonted constituted 14. 13. • or changes their initial interpretations Ask your students whether this information reinforces • the your students to comment on the type of message the image communicates about Ask • Read your students the following quote by the artist. the quote, After reading ask them to Inform your students that Dix was a Ger your Inform I.War World During in the war, his time Dix witnessed much fighting, including trench warfare, drawings. hundred six these experiences in over and documented This print, (FebruaryLangemarck 1918) the war ended. after years of series The consists fifty in which the artist etchings employed style depict images ofa realistic to the war. To classes,as anatomy visits his local morgue, to photographs of documenting the horrors the war. • and other wartime experiences that many people believe that these Inform your students • two-minute automatic drawings. your students create Have another Then have them spend • print Dix’s Show your students the image of Otto that left him emotionally unstable.that left him rec Masson • the print depicts, Ask your students what they think that they support their making sure • this image with and contrast Ask your students to compare IMAGE-BASED DISCUSSION IMAGE-BASED that M students your Inform battlefield: .Have American and other . Of his work, Time, for our authentic , American Landscape American Precisionism Vanity Fair Vanity in 1938 when he was commis- in 1938 when he was dral must be found , by Charles Sheeler (Image Fifteen). some external form of some external evidence. a In rld with any an exactitude not equaled by ith this title mightith this title depict.your Encourage of arrival painting at their destination—the The Rouge: The Image ofThe Image The Rouge: of IndustryArt in the Charles Sheeler for six weeks, thirty- documenting it through y concerns the greatest number, the greatest y concerns finding an differs from a photograph. from differs elements might What felt about the increasing industrialization felt about the increasing of the American Landscape American 15 16 American Landscape paying particular attention to the composition,paying particular attention lines, mate- re subsequently printed subsequently in re , American Landscape Battle of Fishes (Detroit: of Institute Detroit Art, 1978), 12. . as be known style in came to realistic The he painted

Ibid., 11. Charles Sheeler, and Linda Downs, Jacob in Mary quoted Jane rials, and scene. very small figure in the foreground of the image, in the foreground very small figure tracks. on the railway Ask your students number of a greater were of this image would change if there how their interpretation people depicted, composition and mood. in mind the work’s keeping style? Every age manifests the nature ofage manifests the nature Every by its content period such as ours, evidence of individuals give when only a few isolated religious con- tent, than that of some form other the Gothic Cathe My interest in photography, in interest My paralleling that in painting, has been based on admirations for its possibility of for the visual wo accounting other medium. in the manner The difference ofbeing the result image and the photograph being a single image—prevents a composite being competitive. these media from in this image? not present of this scene that are you expect to see in a photograph expression. industry Since predominantl the artist. for it concerns expression Ask them how it relates to what they imagined a work with this title would depict. they imagined a work with this title would to what Ask them how it relates the landscape in

and Diego Rivera 16. 15. American landscape, and the visual this quote evidence of given painting. the Ask your students how they think the artist students how your Ask • in this image. Ask your students if they can find a human figure the one Students may notice • terms of in or Dix’s Masson’s differ from to the environment response How does Sheeler’s sioned by Ford Motors to document the River Rouge Plant, Rouge document the River to Motors T production Ford sioned by Model a new Ford plant outside Detroit. Sheeler visited the plant official photographstwo that we magazines. material for paintings, photographs used as source often He including Landscape Sheeler, To industry an important was subject for contemporary art: • your students how Ask Tell your students that Sheeler painted students that Sheeler painted your Tell the class brainstorm they what think a painting w a painting from differ would an image with how today this title made consider students to with same title that was made in the 1930s. the • the image of Show your students Sheeler said, •war with Masson’s, to reaction Dix’s Compare in their work. as evidenced they that the next image students will your see is called Inform • work with the landscape depicted in this and contrast to briefly compare Ask your students LESSONS 26 LESSONS 27 Ask Ask each stu- Ask . Night Shadows, Night Night Shadows. Night , images of also created the (Image Sixteen) (Image y are having a good time. having y are each stu- Have that place, what it a friend or relative telling person at the next desk. student to each Ask next in the scene ifnext in the scene to come to the image were ly expresses their writtenly expresses descriptions. Create th America. a class, As two the how discuss Night Shadows Night describe the mood of this image. was often Hopper Mexican Muralist movement Muralist Mexican enario for the image that would come after after enario come for the image that would nts’ visual and written responses, students to and encourage " (17.6 x 20.7 cm); 8 ⁄ Six American Etch- Six American 1 x 8 from 16 ⁄ 15 " (24 x 28.6 cm). Publisher: The 4 ⁄ Edward Hopper.Edward American, 1 Night Shadows Night x 11 16 ⁄ 7 1921, published 1924. a portfolio from Etching IMAGE SIXTEEN: IMAGE 1882–1967. ings. various artists,by plate: 6 sheet: 9 New Republic,New York. New Printer: Platt, Peter New York. Edition: 500. approximately Gift of Abby Aldrich Rockefeller dent to write down several words to to writedent to words down several in capturing the fleeting moment in his artworks,interested as he has in 3. Write a Scenario 3. Write print Hopper’s students Edward your Show is like, what happens there,feels, it how and if the is about. the postcard guess which painting artist 2. Research another Diego Rivera,Painter part of the Plant. Rouge River Motor Ford in created the artwork Rivera students research your Have the industrial to landscape ofresponse Nor artists’ similar. and were differed responses imagine happen students to would what your life. each student write a sc Have the mood of express they down to initially wrote the words using and adding to the print. an image that visual each student create Have exhibit ofa classroom the stude ACTIVITIES Postcard Create a 1. this lesson.from images all three Display a sheet of each student Give paper. stu- your Ask choose one artwork dents to imagine and that they visiting in the image. are the place Have writeeach student imaginary an from postcard of note take the image. to their responses among the differences dent give his or her completed postcard to the to postcard his or her completed give dent students to make a list of a list make students to questions any Art, identify an students to and ask your ories may include biographical ories may questions; consider how artistshow during the interwarconsider events ofevents their times. students your Have why the artist made it and what typeswhy of mate- eas about this work changed? Why or why not? or why Why changed? eas about this work by artistsby included in this guide. Students may reflect upon war and social and political turmoil reflect Online Collection at www.moma.org/collection. Online Collection the artists. categories so Organize their questions into

How would they compare the works? Why do they think they were chosen to be exhibited do they think they were Why the works? How would they compare together?

RESEARCH PROJECTS RESEARCH Looking Ahead students to The lessons in this guide prompt Web Quest Web MoMA’s quest to Web Send students on a other works research students to your Ask site, teen Studio, visitalso want to MoMA’s Red view to online activities, bulletin the site’s back,”“talk interviewsboard and teen-led with artists and curators about issues in art and design. the social and political to period responded • viewing. the one they are of art installed around Ask your students to consider the works they still have about one or more of about one or more they still have their own research.that they can conduct Categ ofquestions about a specific work art, as such rials the artist used; life. during the artist’s historical events and questions regarding Visit MoMA ofOrganize a class visit The Museum to Modern artwork in this guide. that was included that they looking at the actual work, are Now they its size and scale.should consider with the the Museum in the work compare them to Ask the classroom. in they saw reproduction notice that they didn’t now details Do they see any originally, their id Have reproduction? in the some contemporary artistsresearch who today.in the world Kentridge, artistsWilliam include Possible Coe, Sue Art Spiegelman, Leon Golub, and Doris Salcedo. Looking Back on war and political reflected artists the past have how from students consider your Have and social upheaval.Velázquez, artists include Diego Possible de Goya, Francisco Édouard Manet, and Käthe Kollwitz. After completing the lessons in this guide, the lessons completing After ask your CONCLUDING QUESTIONS CONCLUDING FOR FURTHER CONSIDERATION FOR FURTHER FOR FURTHER CONSIDERATION 28 FOR FURTHER CONSIDERATION 29 their own times, photographs, using newspapers, prints, materials. and television images as source RESEARCH FURTHER and 5, 4 Art Modern and Ideas Using as Dadaism, such interwar movements explore Surre- alism, students. with and Constructivism your A number of artists discussed in this guide in these movements, active were including Picasso, Masson, and Dix. Art of Our Time to responses students create your Have eth century such fig- by , an artist which the means by com- ist expresses his or her inner emotional ist expresses ments of paper and other materials are of his or her individual the in determining representation that abandoned the traditional representation developed in the early twenti developed rtre, and Simone de Beauvoir. hniques, artists. popular among Surrealist A political party advocating communist principlesA political party and ideologies communist as advocating A philosophy that is concerned with the individual’s relationship to the to relationship with the individual’s that is concerned A philosophy Art, music, or writing in which the art The arrangement of within elements of a work art. To request,To for, or the request of the production of a work art. The process ofThe process of an artwork creating devoid or design planning conscious The area ofThe area the viewer; from an artwork that appears farthest away also, the The arts of and Rome. ancient Greece The process ofThe process art or based on external creating is not representational that A facial aspect indicating an emotion; also The principles the styles, embodied in theories, or philosophies of the art of What a figure is wearing. a figure What An early-twentieth-century style of A technique ofA technique artmaking in which frag The representation ofThe representation a human or animal form in an artwork.

ures as Albertures Camus, Sa Jean-Paul Expression: experience. Figure: Cubism: Costume: of representation three-dimensional on the geomet- and objects and focused instead space ric depiction of form. three-dimensional Existentialism: Communist Party:Communist Vladimir Lenin. and Marx as Karl such political figures by developed Composition: will and that emphasizes the free world external glued a supporting to surface; also, of work the resulting art. Commission: own development. was Existentialism ideas. different municates Expressionist: Classicism: and Rome. ancient Greece Collage: Abstraction: reality or nature. Automatism: the use ofthrough tec automatic Background: is placed. or scene against which a figure area Classical art: GLOSSARY GLOSSARY 30 GLOSSARY 31 ciety of Germany. 1930s in which meticulous pictorial combines photographs withcombines graphic of art based on the materials used (for orification of the mechanical world, war, and fort literacy, increase to artists commissioned ting Mexico’s historyon the walls of ting Mexico’s govern- unich. Artworks in this style can be character- upon the postwar so A representative style ofA representative art in the developed that was n; a pervading impression. This art movement began in Mexico in the early 1920s when in the early began in Mexico This art movement A collage technique that typically technique A collage The part of and background. that is between the foreground a picture A style ofin America painting in the The part of the viewer. closest to that appears a picture The art of of a representation creating a particular individual. The natural of landforms a region; also, that has natural an image scenery as its A clown figure traditionally presented in a mask and multicolored costume. in a mask and multicolored traditionallyA clown figure presented A spoken, written, of visual or account or a series of an event events. connected A movement in art and literature that was launched in Italy in 1909 by Filippo in art in 1909 by in Italy that was launched and literature A movement The general or specific categorization The characteristics that determine one’s self. one’s The characteristics that determine A representation ofA representation a particular individual. The placement ofThe placement hands. a figure’s A series of elements. repeated A state ofA state mind or emotio A distinctive and often recurring feature in a visual recurring feature composition. and often A distinctive The shape or structure of or structure The shape an object. The way a figure is positioned. a figure The way means were employed to create highly images. realistic create to employed means were Pose: Precisionism: Portraiture: images and text. Portrait: Pattern: Photomontage: Neue Sachlichkeit (New Objectivity): (New Sachlichkeit Neue artists Beckmann, by including Max 1920s in Germany Dix, Otto in cen- and George Grosz such as Berlin,ters Dresden, Hanover, and M that reflected satirical social realism ized by Narrative: Mood: Motif: Futurism: the gl to and was devoted Marinetti Tommaso Form: dynamic speed. Gesture: Harlequin: Identity: Landscape: primary focus. Medium: example, painting, drawing, sculpture). movement: Muralist Mexican Vasconcelos, José Education Minister in an ef monumental didactic murals depic create to ment buildings. Artists of Orozco, Clemente include José movement Muralist the Mexican Diego Rivera, Siqueiros. Alfaro and David ground:Middle Foreground: mething else, or either in pictorial someone or something.someone or The visual portrayal of The visual focus of and/or narrative of a work art. The means employed to create a work of a work create to The means employed art. An image that is created using three panels. using three image that is created An Something that represents or stands for so or stands Something that represents The context or environment in which a situation occurs. in which a situation or environment The context A genre of A genre visual art that uses humor, irony, ridicule, or expose caricature and/or to The particular in which an artwork mode is created.

Representation: Symbol: Satire: criticize or something. someone Setting: Style: matter: Subject form. textual Technique: Triptych: GLOSSARY 32 SELECTED BIBLIOGRAPHY & RESOURCES 33 New Berkeley: New York: New New York: The New Haven:New Uni- Yale New Haven:New Uni- Yale Oxford: Univer- Oxford The Museum ofThe Museum at Mid- Art Modern New York: New and Row, Harper 1982. New Haven:New Press, University 2000. Yale Art in Theory Anthology ofArt An 1900–2000: Changing Oxford: Press, University Oxford 1998. Studies in Modern Art 5.Studies in Modern 183–227.York: New The New York: ofNew The Museum Art, Modern 2003. New York:New The ofMuseum Modern Art, 1965. The Oxford History ofThe Oxford Century. Twentieth the Modern Art and Modernism. Art Modern Modern Painting and Sculpture: 1880 to the Present at The Museum of The Museum at 1880 to the Present and Sculpture: Modern Painting Art in France 1900–1940. in France Art Theories of and Critics.Artists Book by A Source Art: Modern Max Beckmann. Max Esprit De Corps: The Art ofEspritArt The De Corps: World and the First Avant-Garde the Parisian Sculpture Since 1945. Sculpture Princeton: Press, University Princeton 1989. An Invitation to See: 150 Works from The Museum ofThe Museum from Works to See: 150 Invitation An Art. Modern Picasso and Portraiture: Representation and Transformation. Representation and Picasso and Portraiture: A Bitter Truth: Avant-Garde Art and the Great War. and the Great Art Avant-Garde Truth: A Bitter Modernity and Nostalgia: Art and Politics in France BetweenWars. in France the and Politics Art Modernity Nostalgia: and New York: ofNew The Museum Art, Modern 2004. Realism, Rationalism, BetweenWars. Art the Surrealism: Alberto Giacometti.Alberto Malden, MA: Blackwell Publishing, 2003. Franc, M. Helen Fer, Briony. versity Press,versity 1994. Elderfield, John, ed. Modern Art. Pressversity /Open University, 1993. Frascina, Francis, ed. University ofUniversity California Press, 1968. Cork, Richard. Chipp, B. Herschel Causey, Andrew. SELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY SELECTED Rubin, William. Century: Continuity and Change. ofMuseum Art, Modern 1995. Soby, Thrall. James “The Changing Stream,” in Haven: Yale University Press,Haven: University 1995. Yale Green, Christopher. ofMuseum Art, Modern 1996. Selz, Peter. Silver, E. Kenneth War, 1914–1925. The Museum ofThe Museum Art, Modern 1992. Golan, Romy. sity Press, 1998. Rainbird, Sean, ed. Harrison, Charles,Wood, and Paul eds. Ideas. Howard, Michael, ed. Boston: MIT Press, New York: Harry N. San Francisco: Books, Chronicle New York: New of The Museum Art, Modern New York: and Dunlap,New Grosset 2002. New York: of The Museum New Art, Modern 2000. New York: ofNew The Museum Art, Modern 1988. Santa Monica: Budding Artists Inc., 1996. Montage and the Modern Life, the Modern and Montage 1919–1942. Picasso for Kids. A Fine Disregard: What Makes Modern Art Modern. Art Modern What Makes Disregard: A Fine Story Painter: The Life ofThe Life Story Painter: Lawrence. Jacob Jackson Pollock: New Approaches. New Pollock: Jackson Modernism and the Decorative Arts in France: Art Nouveau to Le Corbusier. to Le Nouveau Art France: in Arts Modernism and the Decorative The Modern Poster. Modern Art Despite Modernism. Art Modern Pablo Picasso: Breaking All the Rules. All Picasso: Breaking Pablo

ONLINE RESOURCES ofThe Museum Art, Modern York New www.moma.org online collection MoMA’s www.moma.org/collection Studio:Red for Teens A Site http://redstudio.moma.org Teachers Modern www.moma.org/modernteachers Lawrence:Jacob Exploring Stories www.whitney.org/jacoblawrence/index.html Dictionary ofGrove Art subscription) Online (requires www.groveart.com Duggleby, John. BOOKS FOR CHILDREN Teitelbaum, Matthew, ed. Storr, Robert. 1999. Wrede, Stuart. 1992. Troy, J. Nancy Press, Haven: University New 1991. Yale Varnedoe, Kirk. Abrams, 1990. Varnedoe, Kirk. 1998. Hyde, Margaret. Kelley, True. SELECTED BIBLIOGRAPHY & RESOURCES 34 SELECTED BIBLIOGRAPHY & RESOURCES 35 en by appointment only. en by and the Political Art Doc- and the Political aspects of modern and ey are also an internationally recognized ey also an internationally are to collect,to organize, preserve, and make rehensive noncirculating collection devoted collection noncirculating rehensive include works on Dada and Surrealism,include works The ist Book Collection, vertical files of and ephemera announcements cuments painting, sculpture, drawings, prints, pho- material concerning many many material concerning ximately 300,000 books and exhibition catalogues, 300,000 books and ximately 300 e open by appointment only. appointment e open by AD/D) Archive. The Library is op isit www.moma.org/research/archives. isit www.moma.org/research/library. center ofcenter for primary research source contemporary art. ar The Archives please v information more For ABOUT MoMA ARCHIVES established in 1989 were Archives The Museum umentation and Distribution (P art in the historical and cultural role the Museum’s concerning documentation accessible twentieth century and, now, the twenty-first. Th ABOUT MoMA LIBRARY ABOUT MoMA ofThe Museum Art Modern Librarya comp is to modern and contemporary modern and to art. do It tography, architecture, design, performance, video, film, and emerging art 1880 from forms the present.to Staff and materials, collections relevant help locate to available are direct or to department. the appropriate question to your holdings include appro The Library’s periodical subscriptions, 40,000 over and about individual artists. highlights Collection Museum ofMuseum Art Art/Franklin Furnace Modern For more information please v more For um’s videoconferencing classes,videoconferencing um’s provide containing color reproductions for every reproductions color containing rs an ideal environment for live,rs an ideal environment interactive ents outside the New York metropolitan area. metropolitan York ents outside the New e for educators, passes. and Museum Some vailable online and in printvailable online and in the year. throughout 708-9882 or e-mail [email protected]. hool Programs, or e-mail please call (212) 333-1112 istance Learning,istance please call (212) 333-6574 or e-mail at www.moma.org/modernteachers to explore MoMA’s MoMA’s explore to at www.moma.org/modernteachers with a Museum Educator at MoMA or in your classroom, or in your at MoMA Educator with a Museum

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