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Gardner’s Art Through the Ages,
                           12e
                      Chapter 33
 The Development of Modernist Art:
                The Early 20th Century




                                   1
Colonial Empires About 1900




                              2
Historical Context 1
•   First half of 20th century generally called Modernism
•   Decisive changes Events:
•   Contrasts of ideals
•   Intellectual challenge




                                                            3
Historical Context 2
•   Revised views
•   Art reflects new discoveries & theories –
•   Discoveries
•   Advances in all science fields
•   Nietzsche




                                                4
Historical Context 3
•   Marxism
•   Anxiety
•   Living conditions
•   Nationalism/Imperialism leads to WWI –
•   End of Imperial Russia, rise of Communism -




                                                  5
Historical Context 4
• Great Depression
• WWII =
• Ends using military technology = atomic bomb
• Avant-garde became major force =
• “Search for new definitions of and uses for art in
  radically changed world”
• Some




                                                       6
I. Expressionism

 “art that is the result of the artist’s unique inner or
   personal vision and that often has an emotional
                        dimension”

 “Sought empathy – a connection between internal
     states of artists and viewers, not sympathy”

• color and space issues of
• styles of the German Expressionists –
• Abstract Expressionism –

                                                           7
Kirchner
   Matisse                                                                      Kandinsky
                                             Die Brücke
                                               (German)
        Fauvism                                                           Der Blaue
         (French)                                                          Reiter
                                                                            (German)
                                            Expressionism
     Derain
                                                                                     Marc
                                              Abstract
 Picasso               Braque               Expressionism
                                                                         Futurism (Italy)
           Cubism                                                        [motion + sociopolitical
                                                                                Agenda]
            (France)                               Purism
                                                [machine esthetic]

                                                                     Boccioni

 Analytic               Synthetic             Le Corbusier
[analyzing form]         [no relation to
                        tangible objects]
                                                                                                    8
The Art of the Fauves
•   French: “?”
•   Directness of Impressionism, but
•   Outward Expressionism –
•   Simplified designs
•   Distorted
•   Vigorous
•   Flat
•   Bare _____________ as part of design




                                           9
“Color was not given to us in
order that we should imitate
Nature, but so that we can
express our own emotions.”
- Matisse
“It’s not a woman; it is a
painting.” Exactly the point.
“I did not create a woman. I made
a picture.” Art does not represent
reality; it reconstructs it.
Feel-good paintings – should
bring pleasure to the viewer

Figure 33-1 HENRI MATISSE, Woman
with the Hat, 1905. Oil on canvas, 2’7 ¾” X
1’ 11 ½”. San Francisco Museum of Modern
Art, San Francisco.
                                              10
Figure 33-2 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.                            11
HENRI MATISSE The Bare Mount
                               12
HENRI MATISSE The Green Stripe



                                 13
HENRI MATISSE The Joy of Life
                                14
Figure 33-3 ANDRÉ DERAIN, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”. Fridart
Foundation, London.                                                                       15
The German Expressionists

•   Art should express
•   Use of
•   Die Brucke –
•   Der Blaue Reiter –




                                      16
Die Brucke




             17
Figure 33-4 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’
11 1/4” x 6’ 6 7/8”. Museum of Modern Art, New York (purchase).                      18
Figure 33-5 EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil
on canvas, approx. 2’ 10” x 3’ 3”. Hamburger Kunsthalle, Hamburg.                          19
Der Blaue Reiter




                   20
Figure 33-6 VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’
7 7/8” x 5’ 3 7/8”. Solomon R. Guggenheim Museum, New York                              21
Figure 33-7 FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”.
Kunstmuseum, Basel.                                                                        22
The Beginnings of Abstraction

•   the rejection of
•   the Cubists
•   the forms and concepts
•   the materials and forms of.
•   other forms of Cubism:




                                      23
Early Cubism

• the fragmentation of form and the rejection
  of illusion in early Cubism




                                                24
• Could draw before he
  could talk
• First word was “pencil”
• Blue period – poor
  period, reflected his life
• Rose period – happy
  subjects, life
• Negro period – African
  influence
• Cubism – painting &
  sculpture

Figure 33-8 PABLO PICASSO,
Gertrude Stein, 1906–1907. Oil on
canvas, 3’ 3 3/8” x 2’ 8”.
Metropolitan Museum of Art, New
York (bequest of Gertrude Stein,
1947).                              25
Harbinger of
cubism
Effectively ended
Hazy on anatomy
Fractured
perspective
“I paint what I
know, not what I
see”


Figure 33-9 PABLO
PICASSO, Les
Demoiselles d’Avignon,
June–July 1907. Oil on
canvas, 8’ x 7’ 8”. Museum
of Modern Art, New York      26
PABLO PICASSO Guernica, 1937, Reina Sofia Art Center, Madrid



                                                               27
The Development of Cubism

• the concepts behind analytic and synthetic
  cubism, and the other forms of cubism in the
  early 20th century.




                                                 28
Analytic Cubism




                  29
Figure 33-10 GEORGES BRAQUE,
The Portuguese, 1911. Oil on canvas, 3’
10 1/8” x 2’ 8”. Öffentliche
Kunstsammlung Basel, Kunstmuseum,
Basel (gift of Raoul La Roche, 1952).
                                          30
Figure 33-11 ROBERT
DELAUNAY, Champs de Mars
or The Red Tower, 1911. Oil on
canvas, 5’ 3” x 4’ 3”. Art Institute
of Chicago, Chicago.                   31
Synthetic Cubism




                   32
Figure 33-12 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10
5/8” x 1’ 1 3/4”. Musée Picasso, Paris.                                                      33
Figure 33-13 GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal and
various papers pasted on paper, 1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York.   34
Cubist Sculpture




                   35
Figure 33-14 PABLO
PICASSO, Maquette for Guitar,
1912. Cardboard, string, and wire
(restored), 25 1/4” x 13” x 7
1/2”. Museum of Modern Art,
New York.                           36
Figure 33-15 JACQUES LIPCHITZ, Bather, 1917.
Bronze, 2’ 10 3/4” x 1’ 1 1/4” x 1’ 1”. Nelson-Atkins
Museum of Art, Kansas City (gift of the Friends of Art).
Copyright © Estate of Jacques Lipchitz/Licensed by
VAGA, New York/Marlborough Gallery, NY.                    37
Figure 33-16 ALEKSANDR ARCHIPENKO, Woman Combing
Her Hair, 1915. Bronze, approx. 1’ 1 3/4” high. Museum of
Modern Art, New York (bequest of Lillie P. Bliss).

                                                            38
Figure 33-17 JULIO GONZÁLEZ, Woman Combing Her
Hair, ca. 1930–1933. Iron, 4’ 9” high. Moderna Museet,
Stockholm.

                                                         39
Purism




         40
Figure 33-18 FERNAND LÉGER, The City, 1919. Oil on canvas, approx. 7’ 7” x 9’ 9 1/2”.
Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection).                   41
Futurism - Italy

• Interest similar to Cubists, but with ?
• Wash away Influence of modern technology.
• Focuses on




                                              42
Figure 33-19 GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11
3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York
                                                                                       43
Figure 33-20 UMBERTO
BOCCIONI, Unique Forms of
Continuity in Space, 1913 (cast
1931). Bronze, 3’ 7 7/8” high x
2’ 10 7/8” x 1’ 3 3/4”. Museum
of Modern Art, New York           44
Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190
BCE. Marble, figure approx. 8’ 1” high. Louvre, Paris.                                           45
Figure 33-21 GINO SEVERINI,
Armored Train, 1915. Oil on canvas,
3’ 10” x 2’ 10 1/8”. Collection of
Richard S. Zeisler, New York.
                                      46
Dada: A State of Mind

•   Dada emphasizes
•   Dada rejects
•   Nonsense word, seems nonsensical –
•   Denouncing
•   “Chance” collage




                                         47
Figure 33-22 JEAN ARP, Collage
Arranged According to the Laws of
Chance, 1916–1917. Torn and pasted
paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of
Modern Art, New York (purchase).          48
Figure 33-23 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced
1917). Ready-made glazed sanitary china with black paint, 12” high. Philadelphia Museum of Art,
Philadelphia                                                                                    49
Figure 33-24 MARCEL DUCHAMP, The
Bride Stripped Bare by Her Bachelors, Even
(The Large Glass), 1915-23. Oil, lead, wire,
foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9
1/8”. Philadelphia Museum of Art,
Philadelphia (Katherine S. Dreier Bequest).          50
Figure 33-25 HANNAH HÖCH,
Cut with the Kitchen Knife Dada
through the Last Weimar Beer
Belly Cultural Epoch of Germany,
1919–1920. Photomontage, 3’ 9” x
2’ 11 1/2”. Neue Nationalgalerie,
Staatliche Museen, Berlin.          51
Figure 33-26 KURT
SCHWITTERS, Merz 19, 1920.
Paper collage, approx. 7 1/4” x 5
7/8”. Yale University Art Gallery,
New Haven, (gift of Collection
Société Anonyme).                    52
Transatlantic Dialogues

• American artists in Europe
• Americans grounded in realist tradition before
  influence of incoming European artists after
  Armory Show & WWI




                                                   53
Figure 33-27 JOHN SLOAN, Sixth Avenue and 30th Street, 1907, 1909. Oil on canvas, 26 1/4” x
32”. Private Collection (Mr. And Mrs. Meyer P. Potamkin).                                 54
Armory Show
• European artists came to America to show
  modern arts – held in the
• Matisse,____________, Braque, ___________.
  ______________, Kirchner, ______________
• Showed _____________________ the latest &
  newest ideas
• Traveled to _________ & ___________ also
• Stieglitz’s ______



                                               55
Figure 33-28 Installation photo of the Armory Show, New York National Guard’s 69th Regiment,
New York, 1913. Courtesy of the Museum of Modern Art, New York.
                                                                                          56
Figure 33-29 MARCEL DUCHAMP, Nude
Descending a Staircase, No. 2, 1912. Oil on
canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia
Museum of Art, Philadelphia (Louise and Walter
Arensberg Collection).                           57
Photography as Art

•   Stieglitz –
•   “Unmanipulated” photos –
•   Interest in
•   Moves toward abstraction –




                                  58
Figure 33-30 ALFRED
STIEGLITZ, The Steerage,
1907 (print 1915). Photogravure
(on tissue), 1’ 3/8” x 10 1/8”.
Courtesy of Amon Carter
Museum, Fort Worth.               59
Figure 33-31 EDWARD WESTON, Nude, 1925. Platinum print. Collection, Center for Creative
Photography, University of Arizona, Tucson.                                             60
Discussion Questions



 What caused artists in the early 20th century
  to reject observational naturalism in art?




                                                  61
American Art Forms

• the distinctive American art forms seem
  in photography, art of the Harlem
  Renaissance, and precisionist forms of
  Cubism.




                                            62
Figure 33-32 MAN RAY, Cadeau
(Gift), ca. 1958 (replica of 1921
original). Painted flatiron with row of
13 tacks with heads glued to the
bottom, 6 1/8” high, 3 5/8” wide, 4
1/2” deep. Museum of Modern Art,
New York (James Thrall Soby Fund).        63
Figure 33-33 MARSDEN HARTLEY,
Portrait of a German Officer, 1914. Oil on
canvas, 5' 8 1/4” x 3' 5 3/8”. The Metropolitan
Museum of Art, New York (Alfred Stieglitz
Collection).                                      64
Figure 33-34 STUART DAVIS, Lucky Strike,
1921. Oil on canvas, 2’ 9 1/4” x 1’ 6”. Museum
of Modern Art, New York (gift of The
American Tobacco Company, Inc.). Copyright
© Estate of Stuart Davis/Licensed by VAGA,
New York, NY.                                    65
Figure 33-35 AARON
DOUGLAS, Noah’s Ark, ca. 1927.
Oil on masonite, 4’ x 3’. Fisk
University Galleries, Nashville,
Tennessee.                         66
AARON DOUGLAS Into
Bondage 1936. Oil on canvas,
153.4 x 153.7 cm. Collection of
the Corcoran Gallery of Art,
Washington DC



                                  67
Figure 33-36 CHARLES
DEMUTH, My Egypt, 1927.
Oil on composition board,
2’ 11 3/4” x 2’ 6”.
Collection of Whitney
Museum of American Art,
New York                    68
Figure 33-37 GEORGIA O’KEEFFE, New York,
Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”.
Sheldon Memorial Art Gallery, Lincoln, Nebraska
(Nebraska Art Association, Thomas C. Woods
Memorial Collection).                                69
GEORGIA O’KEEFFE, Bella
Donna, 1939 . Oil on canvas, 36
1/4 x 30 1/8 in. private
collection




                                  70

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20 pics a student

  • 1. Gardner’s Art Through the Ages, 12e Chapter 33 The Development of Modernist Art: The Early 20th Century 1
  • 3. Historical Context 1 • First half of 20th century generally called Modernism • Decisive changes Events: • Contrasts of ideals • Intellectual challenge 3
  • 4. Historical Context 2 • Revised views • Art reflects new discoveries & theories – • Discoveries • Advances in all science fields • Nietzsche 4
  • 5. Historical Context 3 • Marxism • Anxiety • Living conditions • Nationalism/Imperialism leads to WWI – • End of Imperial Russia, rise of Communism - 5
  • 6. Historical Context 4 • Great Depression • WWII = • Ends using military technology = atomic bomb • Avant-garde became major force = • “Search for new definitions of and uses for art in radically changed world” • Some 6
  • 7. I. Expressionism “art that is the result of the artist’s unique inner or personal vision and that often has an emotional dimension” “Sought empathy – a connection between internal states of artists and viewers, not sympathy” • color and space issues of • styles of the German Expressionists – • Abstract Expressionism – 7
  • 8. Kirchner Matisse Kandinsky Die Brücke (German) Fauvism Der Blaue (French) Reiter (German) Expressionism Derain Marc Abstract Picasso Braque Expressionism Futurism (Italy) Cubism [motion + sociopolitical Agenda] (France) Purism [machine esthetic] Boccioni Analytic Synthetic Le Corbusier [analyzing form] [no relation to tangible objects] 8
  • 9. The Art of the Fauves • French: “?” • Directness of Impressionism, but • Outward Expressionism – • Simplified designs • Distorted • Vigorous • Flat • Bare _____________ as part of design 9
  • 10. “Color was not given to us in order that we should imitate Nature, but so that we can express our own emotions.” - Matisse “It’s not a woman; it is a painting.” Exactly the point. “I did not create a woman. I made a picture.” Art does not represent reality; it reconstructs it. Feel-good paintings – should bring pleasure to the viewer Figure 33-1 HENRI MATISSE, Woman with the Hat, 1905. Oil on canvas, 2’7 ¾” X 1’ 11 ½”. San Francisco Museum of Modern Art, San Francisco. 10
  • 11. Figure 33-2 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx. 5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg. 11
  • 12. HENRI MATISSE The Bare Mount 12
  • 13. HENRI MATISSE The Green Stripe 13
  • 14. HENRI MATISSE The Joy of Life 14
  • 15. Figure 33-3 ANDRÉ DERAIN, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”. Fridart Foundation, London. 15
  • 16. The German Expressionists • Art should express • Use of • Die Brucke – • Der Blaue Reiter – 16
  • 18. Figure 33-4 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. Museum of Modern Art, New York (purchase). 18
  • 19. Figure 33-5 EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil on canvas, approx. 2’ 10” x 3’ 3”. Hamburger Kunsthalle, Hamburg. 19
  • 21. Figure 33-6 VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’ 7 7/8” x 5’ 3 7/8”. Solomon R. Guggenheim Museum, New York 21
  • 22. Figure 33-7 FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”. Kunstmuseum, Basel. 22
  • 23. The Beginnings of Abstraction • the rejection of • the Cubists • the forms and concepts • the materials and forms of. • other forms of Cubism: 23
  • 24. Early Cubism • the fragmentation of form and the rejection of illusion in early Cubism 24
  • 25. • Could draw before he could talk • First word was “pencil” • Blue period – poor period, reflected his life • Rose period – happy subjects, life • Negro period – African influence • Cubism – painting & sculpture Figure 33-8 PABLO PICASSO, Gertrude Stein, 1906–1907. Oil on canvas, 3’ 3 3/8” x 2’ 8”. Metropolitan Museum of Art, New York (bequest of Gertrude Stein, 1947). 25
  • 26. Harbinger of cubism Effectively ended Hazy on anatomy Fractured perspective “I paint what I know, not what I see” Figure 33-9 PABLO PICASSO, Les Demoiselles d’Avignon, June–July 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York 26
  • 27. PABLO PICASSO Guernica, 1937, Reina Sofia Art Center, Madrid 27
  • 28. The Development of Cubism • the concepts behind analytic and synthetic cubism, and the other forms of cubism in the early 20th century. 28
  • 30. Figure 33-10 GEORGES BRAQUE, The Portuguese, 1911. Oil on canvas, 3’ 10 1/8” x 2’ 8”. Öffentliche Kunstsammlung Basel, Kunstmuseum, Basel (gift of Raoul La Roche, 1952). 30
  • 31. Figure 33-11 ROBERT DELAUNAY, Champs de Mars or The Red Tower, 1911. Oil on canvas, 5’ 3” x 4’ 3”. Art Institute of Chicago, Chicago. 31
  • 33. Figure 33-12 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10 5/8” x 1’ 1 3/4”. Musée Picasso, Paris. 33
  • 34. Figure 33-13 GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal and various papers pasted on paper, 1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York. 34
  • 36. Figure 33-14 PABLO PICASSO, Maquette for Guitar, 1912. Cardboard, string, and wire (restored), 25 1/4” x 13” x 7 1/2”. Museum of Modern Art, New York. 36
  • 37. Figure 33-15 JACQUES LIPCHITZ, Bather, 1917. Bronze, 2’ 10 3/4” x 1’ 1 1/4” x 1’ 1”. Nelson-Atkins Museum of Art, Kansas City (gift of the Friends of Art). Copyright © Estate of Jacques Lipchitz/Licensed by VAGA, New York/Marlborough Gallery, NY. 37
  • 38. Figure 33-16 ALEKSANDR ARCHIPENKO, Woman Combing Her Hair, 1915. Bronze, approx. 1’ 1 3/4” high. Museum of Modern Art, New York (bequest of Lillie P. Bliss). 38
  • 39. Figure 33-17 JULIO GONZÁLEZ, Woman Combing Her Hair, ca. 1930–1933. Iron, 4’ 9” high. Moderna Museet, Stockholm. 39
  • 40. Purism 40
  • 41. Figure 33-18 FERNAND LÉGER, The City, 1919. Oil on canvas, approx. 7’ 7” x 9’ 9 1/2”. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection). 41
  • 42. Futurism - Italy • Interest similar to Cubists, but with ? • Wash away Influence of modern technology. • Focuses on 42
  • 43. Figure 33-19 GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York 43
  • 44. Figure 33-20 UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3’ 7 7/8” high x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New York 44
  • 45. Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure approx. 8’ 1” high. Louvre, Paris. 45
  • 46. Figure 33-21 GINO SEVERINI, Armored Train, 1915. Oil on canvas, 3’ 10” x 2’ 10 1/8”. Collection of Richard S. Zeisler, New York. 46
  • 47. Dada: A State of Mind • Dada emphasizes • Dada rejects • Nonsense word, seems nonsensical – • Denouncing • “Chance” collage 47
  • 48. Figure 33-22 JEAN ARP, Collage Arranged According to the Laws of Chance, 1916–1917. Torn and pasted paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of Modern Art, New York (purchase). 48
  • 49. Figure 33-23 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Ready-made glazed sanitary china with black paint, 12” high. Philadelphia Museum of Art, Philadelphia 49
  • 50. Figure 33-24 MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil, lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9 1/8”. Philadelphia Museum of Art, Philadelphia (Katherine S. Dreier Bequest). 50
  • 51. Figure 33-25 HANNAH HÖCH, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920. Photomontage, 3’ 9” x 2’ 11 1/2”. Neue Nationalgalerie, Staatliche Museen, Berlin. 51
  • 52. Figure 33-26 KURT SCHWITTERS, Merz 19, 1920. Paper collage, approx. 7 1/4” x 5 7/8”. Yale University Art Gallery, New Haven, (gift of Collection Société Anonyme). 52
  • 53. Transatlantic Dialogues • American artists in Europe • Americans grounded in realist tradition before influence of incoming European artists after Armory Show & WWI 53
  • 54. Figure 33-27 JOHN SLOAN, Sixth Avenue and 30th Street, 1907, 1909. Oil on canvas, 26 1/4” x 32”. Private Collection (Mr. And Mrs. Meyer P. Potamkin). 54
  • 55. Armory Show • European artists came to America to show modern arts – held in the • Matisse,____________, Braque, ___________. ______________, Kirchner, ______________ • Showed _____________________ the latest & newest ideas • Traveled to _________ & ___________ also • Stieglitz’s ______ 55
  • 56. Figure 33-28 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Courtesy of the Museum of Modern Art, New York. 56
  • 57. Figure 33-29 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection). 57
  • 58. Photography as Art • Stieglitz – • “Unmanipulated” photos – • Interest in • Moves toward abstraction – 58
  • 59. Figure 33-30 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth. 59
  • 60. Figure 33-31 EDWARD WESTON, Nude, 1925. Platinum print. Collection, Center for Creative Photography, University of Arizona, Tucson. 60
  • 61. Discussion Questions  What caused artists in the early 20th century to reject observational naturalism in art? 61
  • 62. American Art Forms • the distinctive American art forms seem in photography, art of the Harlem Renaissance, and precisionist forms of Cubism. 62
  • 63. Figure 33-32 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” high, 3 5/8” wide, 4 1/2” deep. Museum of Modern Art, New York (James Thrall Soby Fund). 63
  • 64. Figure 33-33 MARSDEN HARTLEY, Portrait of a German Officer, 1914. Oil on canvas, 5' 8 1/4” x 3' 5 3/8”. The Metropolitan Museum of Art, New York (Alfred Stieglitz Collection). 64
  • 65. Figure 33-34 STUART DAVIS, Lucky Strike, 1921. Oil on canvas, 2’ 9 1/4” x 1’ 6”. Museum of Modern Art, New York (gift of The American Tobacco Company, Inc.). Copyright © Estate of Stuart Davis/Licensed by VAGA, New York, NY. 65
  • 66. Figure 33-35 AARON DOUGLAS, Noah’s Ark, ca. 1927. Oil on masonite, 4’ x 3’. Fisk University Galleries, Nashville, Tennessee. 66
  • 67. AARON DOUGLAS Into Bondage 1936. Oil on canvas, 153.4 x 153.7 cm. Collection of the Corcoran Gallery of Art, Washington DC 67
  • 68. Figure 33-36 CHARLES DEMUTH, My Egypt, 1927. Oil on composition board, 2’ 11 3/4” x 2’ 6”. Collection of Whitney Museum of American Art, New York 68
  • 69. Figure 33-37 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln, Nebraska (Nebraska Art Association, Thomas C. Woods Memorial Collection). 69
  • 70. GEORGIA O’KEEFFE, Bella Donna, 1939 . Oil on canvas, 36 1/4 x 30 1/8 in. private collection 70

Notas del editor

  1. American ridicules
  2. African American artist, the jazz age, Harlem Renaissance not quite cubism, reduced to simpliifed geo shapes, monochromatic noahs arch animal. Noah is rep as a black and white fig
  3. Early work
  4. Like photographers, does lots of close up, simplified forms, usually non threatening