AP Art History
Modern Age: Early-Expressionism, Fauves, Cubism, Futurism, Dada, etc.
Key Modernist Movements- Pre-World War II
Know what these meanApproximately the first 15 years of 1900's
Approximately the next 15+ years after 1914
*
*
*
*
*
*
Secessionists and Art Nouveau
Die Brucke- The Bridge
Fauvism- Wild Beast
Cubism
Der Blaue Reiter- Blue Horsemen
Futurism
* Modernism
* Dada
* Futurism
* Constructivism
* Suprematism
* BauHaus- School of Building
* Art Deco
* Surrealism
* Precisionism- Cubist-Realism
* Social or Heroic Realism
* De Stijl- The Style (Neoplasticists)
* New Objectivity - "Degenerate Art"
Key Concepts- be able to defineManifestos
Abstraction
Nonrepresentational
Art Nouveau
Fauvism
Die Brucke
Primitivism
Der Blaue Reiter
Cubism
Saltimbanques
Analytic v. Synthetic Cubism
Collage
Assemblage
Prairie Style
Cantilevered
Skyscraper
Curtain Wall
Utilitarian Forms
Installation Art
Photomontages
Bauhaus Art
“Degenerate Art”
Dada
Surrealism
Automatism
Frottage v. Grattage
Precisionism
Scene painting
Harlem Renaissance
Modernism
Biomorphic
Glossary
Chapter 29
Analytic
Cubism
The first phase of Cubism, developed jointly by Pablo Picasso and Georges Braque, in which the
artists analyzed form from every possible vantage point to combine the various views into one
pictorial whole.
Art Deco
Descended from Art Nouveau, this movement of the 1920s and 1930s sought to upgrade industrial
design in competition with "fine art" and to work new materials into decorative patterns that could
be either machined or handcrafted. Characterized by streamlined, elongated, and symmetrical
design.
automatism
In painting, the process of yielding oneself to instinctive motions of the hands after establishing a set
of conditions (such as size of paper or medium) within which a work is to be carried out.
avant-garde
French, "advance guard" (in a platoon). Late-19th- and 20th-century artists who emphasized
innovation and challenged established convention in their work. Also used as an adjective.
Bauhaus
A school of architecture in Germany in the 1920s under the aegis of Walter Gropius, who
emphasized the unity of art, architecture, and design.
Biomorphic
Surrealism
A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its
exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic
Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists,
notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
collage
A composition made by combining on a flat surface various materials, such as newspaper,
wallpaper, printed text and illustrations, photographs, and cloth.
Constructivism
An early-20th-century Russian art movement formulated by Naum Gabo, who built up his
sculptures piece by piece in space instead of carving or modeling them. In this way the sculptor
worked with "volume of mass" and "volume of space" as different materials.
Cubism
An early-20th-century art movement that rejected naturalistic depictions, preferring compositions of
shapes and forms abstracted from the conventionally perceived world. See also Analytic Cubism
and Synthetic Cubism.
Dada
An early-20th-century art movement prompted by a revulsion against the horror of World War I.
Dada embraced political anarchy, the irrational, and the intuitive. A disdain for convention, often
enlivened by humor or whimsy, is characteristic of the art the Dadaists produced.
De Stijl
Dutch, "the style." An early-20th-century art movement (and magazine), founded by Piet Mondrian
and Theo van Doesburg, whose members promoted utopian ideals and developed a simplified
geometric style.
Der Blaue Reiter German, "the blue rider." An early-20th-century German Expressionist art movement founded by
Vassily Kandinsky and Franz Marc. The artists selected the whimsical name because of their mutual
interest in the color blue and horses.
Die Brücke
German, "the bridge." An early-20th-century German Expressionist art movement under the
leadership of Ernst Ludwig Kirchner. The group thought of itself as the bridge between the old age
and the new.
Expressionism
(adj.
Expressionist)
Twentieth-century art that is the result of the artist's unique inner or personal vision and that often
has an emotional dimension. Expressionism contrasts with art focused on visually describing the
empirical world.
Fauves
French, "wild beasts." See Fauvism.
Fauvism
An early-20th-century art movement led by Henri Matisse. For the Fauves, color became the formal
element most responsible for pictorial coherence and the primary conveyor of meaning.
frottage
A technique in which the artist rubs a crayon or another medium across a sheet of paper placed over
a surface with a strong textural pattern.
Futurism
An early-20th-century Italian art movement that championed war as a cleansing agent and that
celebrated the speed and dynamism of modern technology.
International
Style
A style of 14th- and 15th-century painting begun by Simone Martini, who adapted the French
Gothic manner to Sienese art fused with influences from the North. This style appealed to the
aristocracy because of its brilliant color, lavish costume, intricate ornament, and themes involving
splendid processions of knights and ladies. Also a style of 20th-century architecture associated with
Le Corbusier, whose elegance of design came to influence the look of modern office buildings and
skyscrapers.
lancet
In Gothic architecture, a tall narrow window ending in a pointed arch.
mobile
A kind of sculpture, invented by Alexander Calder, combining nonobjective organic forms and
motion in balanced structures hanging from rods, wires, and colored, organically shaped plates.
Naturalistic
Surrealism
A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its
exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic
Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists,
notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
Neoplasticism
The Dutch artist Piet Mondrian's theory of "pure plastic art," an ideal balance between the universal
and the individual using an abstract formal vocabulary.
Neue
Sachlichkeit
German, "new objectivity." An art movement that grew directly out of the World War I experiences
of a group of German artists who sought to show the horrors of the war and its effects.
Orphism
A form of Cubism developed by the French painter Robert Delaunay in which color plays an
important role.
papier collé
French, "stuck paper." See collage.
photomontage
A composition made by pasting together pictures or parts of pictures, especially photographs. See
also collage.
Pittura
Metafisica
Italian, "metaphysical painting." An early-20th-century Italian art movement led by Giorgio de
Chirico, whose work conveys an eerie mood and visionary quality.
Precisionism
An American art movement of the 1920s and 1930s. The Precisionists concentrated on portraying
man-made environments in a clear and concise manner to express the beauty of perfect and precise
machine forms.
primitivism
The incorporation in early-20th-century Western art of stylistic elements from the artifacts of
Africa, Oceania, and the native peoples of the Americas.
Productivism
An art movement that emerged in the Soviet Union after the Revolution; its members believed that
artists must direct art toward creating products for the new society.
Purism
An early-20th-century art movement that embraced the "machine esthetic" and sought purity of
form in the clean functional lines of industrial machinery.
Regionalism
A 20th-century American art movement that portrayed American rural life in a clearly readable,
realist style. Major Regionalists include Grant Wood and Thomas Hart Benton.
Suprematism
A type of art formulated by Kazimir Malevich to convey his belief that the supreme reality in the
world is pure feeling, which attaches to no object and thus calls for new, nonobjective forms in
artshapes not related to objects in the visible world.
Surrealism
A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its
exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic
Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists,
notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
Synthetic
Cubism
A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes
cut from paper or other materials to represent parts of a subject, in order to engage the viewer with
pictorial issues, such as figuration, realism, and abstraction.
trompe l'oeil
French, "fools the eye." A form of illusionistic painting that aims to deceive viewers into believing
that they are seeing real objects rather than a representation of those objects.
The yes and maybe ones- write a summary of the piece- Know all major styles- give the periods of Picasso29-1HANNAH HHÖCH, Cut with the Kitchen Knife Dada through the
Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920.
Photomontage, 3′ 9″ × 2′ 11½″. Neue Nationalgalerie, Staatliche
Museen zu Berlin,
29-2HENRI MATISSE, Woman with the Hat, 1905. Oil on
Canvas, 2′ 7¾″ × 1′ 11½″. San Francisco Museum of Modern Art,
San Francisco (bequest of Elise S. Haas)
29-2AMATISSE, Le Bonheur de Vivre, 1905–1906
29-3HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil
on Canvas, 5′ 11″ × 8′ 1″. State Hermitage Museum, Saint Petersburg
29-4ANDRÉ DERAIN, The Dance, 1906. Oil on Canvas, 6′ ⅞″ × 6′
10¼″. Fridart Foundation, London
29-4ADERAIN, Mountains at Collioure, 1905
29-5ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated
1907). Oil on Canvas, 4′ 11¼″ × 6′ 6⅞″. Museum of Modern Art,
New York
29-6EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912.
Left panel of a triptych, oil on canvas, 2′ 10″ × 3′ 3″. Hamburger
Kunsthalle, Hamburg
29-6ANOLDE, Masks, 1911
29-7VASSILY KANDINSKY, Improvisation 28 (second
version), 1912. Oil on Canvas, 3′ 7⅞″ × 5′ 3⅞″. Solomon R.
Guggenheim Museum, New York (gift of Solomon R.
Guggenheim, 1937)
Franz Marc- Blue Horses
29-9KÄTHE KOLLWITZ, Woman with Dead Child, 1903.
Etching and softground etching, overprinted lithographically with
a gold tone plate, 1′ 4⅝″ × 1′ 7⅛″. British Museum, London
29-9AMODERSOHN-BECKER, Self-Portrait, 1906
29-10EGON SCHIELE, Nude Self-Portrait, Grimacing, 1910.
Gouache, Watercolor, and Pencil on Paper, 1′ 10″ × 1′ 2⅜″.
Albertina, Vienna
29-10ALEHMBRUCK, Seated Youth, 1917
29-11PABLO PICASSO, Gertrude Stein, 1906–1907. Oil on
Canvas, 3′ 3⅜″ × 2′ 8″. Metropolitan Museum of Art, New York
(bequest of Gertrude Stein, 1947)
29-11APICASSO, Family of Saltimbanques, 1905
29-12PABLO PICASSO, Les Demoiselles d’Avignon, 1907. Oil
on Canvas, 8′ × 7′ 8″. Museum of Modern Art, New York
(acquired through the Lillie P. Bliss Bequest)
29-13FRANK GELETT BURGESS, photograph of Pablo Picasso
in his studio in the rue Ravignan, Paris, France, 1908. Musée
Picasso, Paris
29-14 GEORGES BRAQUE, The Portuguese, 1911. Oil on
Canvas, 3′ 10⅛″ × 2′ 8″. Kunstmuseum Basel, Basel (gift of Raoul
La Roche, 1952)
29-15 Robert Delaunay (1885-1941). Hommage à Blériot, 1914.
Kunstmuseum Basel. Leimtempera auf Leinwand. HxB : 250 x
250 cm. Photo : Martin P. Bühler © L&M Services B.V.
29-15A DELAUNAY, Champs de Mars, 1911
29-16 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil,
oilcloth, and rope on canvas, 10⅝″ × 1′ 1¾″. Musée Picasso, Paris
29-17GEORGES BRAQUE, Bottle, Newspaper, Pipe, and Glass,
1913. Charcoal and various papers pasted on paper, 1′ 6⅞″ × 2′
1¼″. Private collection, New York
29-18PABLO PICASSO, Guernica, 1937. Oil on Canvas, 11′ 5½″
× 25′ 5¾″. Museo Nacional Centro de Arte Reina Soifia, Madrid
29-19PABLO PICASSO, maquette for Guitar, 1912. Cardboard,
string, and wire (restored), 2′ 1¼″ × 1′ 1″ × 7½″. Museum of
Modern Art, New York
29-19APICASSO, Three Musicians, 1921
29-20ALEKSANDR ARCHIPENKO, Woman Combing Her
Hair, 1915. Bronze, 1′ 1¾″ × 3¼″ × 3⅛″. Museum of Modern Art,
New York (acquired through the Lillie P. Bliss Bequest)
29-21JULIO GONZÁLEZ, Woman Combing Her Hair, 1936.
Iron, 4′ 4″ × 1′ 11½″ × 2′ ⅝″. Museum of Modern Art, New York
(Mrs. Simon Guggenheim Fund)
29-21ALIPCHITZ, Bather, 1917
29-22FERNAND LEGER, The City, 1919. Oil on Canvas, 7′ 7″ ×
9′ 9½″. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin
Collection)
29-22ALÉGER, Three Women, 1921
29-23GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912.
Oil on Canvas, 2′ 11⅜″ × 3′ 7¼″. Albright-Knox Art Gallery, Buf
alo (bequest of A. Conger Goodyear, gift of George F. Goodyear,
1964)
29-24UMBERTO BOCCIONI, Unique Forms of Continuity in
Space, 1913 (cast 1931). Bronze, 3′ 7⅞″ × 2′ 10⅞″ × 1′ 3¾″.
Museum of Modern Art, New York (acquired through the Lillie P.
Bliss Bequest
29-25GINO SEVERINI, Armored Train, 1915. Oil on Canvas, 3′
10″ × 2′ 10⅛″. Collection of Richard S. Zeisler, New York
29-26JEAN (HANS) ARP, Collage Arranged According to the
Laws of Chance, 1916–1917. Torn and pasted paper, 1′ 7⅛″ × 1′
1⅝″. Museum of Modern Art, New York
Yes
29-27MARCEL DUCHAMP, Fountain (second version), 1950
(original version produced 1917). Glazed Sanitary China with
Black paint, 1’ high. Philadelphia Museum of Art, Philadelphia
Yes
29-27ADUCHAMP, L.H.O.O.Q., 1919
29-28MARCEL DUCHAMP, The Bride Stripped Bare by Her
Bachelors, Even (The Large Glass), 1915–1923. Oil, lead, wire,
foil, dust, and varnish on glass, 9′ 1½″ × 5′ 9⅛″. Philadelphia
Museum of Art, Philadelphia (Katherine S. Dreier Bequest)
29-29KURT SCHWITTERS, Merz 19, 1920. Paper collage, 7⅛″
× 5⅞″. Yale University Art Gallery, New Haven (gift of
Collection Société Anonyme)
Maybe
29-30KAZIMIR MALEVICH, Suprematist Composition:
Airplane Flying, 1915 (dated 1914). Oil on Canvas, 1′ 10⅞″ × 1′
7″. Museum of Modern Art, New York
29-30APOPOVA, Architectonic Painting, 1916–1917
29-31NAUM GABO, Column, ca. 1923 (reconstructed 1937).
Perspex, wood, metal, glass, 3′ 5″ × 2′ 5″ × 2′ 5″. Solomon R.
Guggenheim Museum, New York
29-32VLADIMIR TATLIN, Monument to the Third International,
1919–1920. Reconstruction of the lost model, 1992–1993.
Kunsthalle, Düsseldorf
29-33ADOLF LOOS, garden facade of the Steiner House (looking
northwest), Vienna, Austria, 1910
29-34JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York
City, 1907. Oil on Canvas, 2′¼″ × 2′ 8″. Philadelphia Museum of
Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O.
Potamkin, 2000)
29-35MARCEL DUCHAMP, Nude Descending a Staircase, No.
2, 1912. Oil on Canvas, 4′ 10″ × 2′ 11″. Philadelphia Museum of
Art, Philadelphia (Louise and Walter Arensberg Collection)
Yes
29-36ARTHUR DOVE, Nature Symbolized No. 2, ca. 1911.
Pastel on paper, 1′ 6″ × 1′ 9⅝″. Art Institute of Chicago, Chicago
(Alfred Stieglitz Collection)
29-37MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921
original). Painted flatiron with row of 13 tacks with heads glued to
the bottom, 6⅛″ × 3⅝″ × 4½″. Museum of Modern Art, New York
(James Thrall Soby Fund)
29-38MARSDEN HARTLEY, Portrait of a German Officer,
1914. Oil on Canvas, 5′ 8¼″ × 3′ 5⅜″. Metropolitan Museum of
Art, New York (Alfred Stieglitz Collection)
29-39STUART DAVIS, Lucky Strike, 1921. Oil on Canvas, 2′
9¼″ × 1′ 6″. Museum of Modern Art, New York (gift of the
American Tobacco Company, Inc.). © Estate of Stuart
Davis/Licensed by VAGA, New York
29-40AARON DOUGLAS, Noah’s Ark, ca. 1927. Oil on
Masonite, 4′ × 3′. Fisk University Galleries, University of
Tennessee, Nashville
29-40ADOUGLAS, Slavery through Reconstruction, 1934
29-41CHARLES DEMUTH, My Egypt, 1927. Oil on composition
board, 2′ 11¾″× 2′ 6″. Whitney Museum of American Art, New
York (purchased with funds from Gertrude Vanderbilt Whitney)
29-42GEORGIA O’KEEFFE, New York, Night, 1929. Oil on
Canvas, 3′ 4⅛″ × 1′ 7⅛″. Sheldon Memorial Art Gallery, Lincoln
(Nebraska Art Association, Thomas C. Woods Memorial
Collection)
29-43ALFRED STIEGLITZ, The Steerage, 1907 (print 1915).
Photogravure (on tissue), 1′ ⅜ × 10⅛″. Amon Carter Museum,
Fort Worth
Yes
29-43ASTIEGLITZ, Equivalent, 1923
29-44EDWARD WESTON, Pepper No. 30, 1930. Gelatin silver
print, 9½″ × 7½″. Center for Creative Photography, University of
Arizona, Tucson
29-44AWESTON, Nude, 1925
29-45FRANK LLOYD WRIGHT, Robie House (looking
northeast), Chicago, Illinois, 1907–1909
Yes
29-46FRANK LLOYD WRIGHT, Plan of the Second (main)
level of the Robie House, Chicago, Illinois, 1907–1909
29-47WILLIAM VAN ALEN, Art Deco spire of the Chrysler
Building (looking south), New York, New York, 1928–1930
Yes
29-48GEORGE GROSZ, The Eclipse of the Sun, 1926. Oil on
Canvas, 6′ 9⅝″ × 5′ 11⅞″. Heckscher Museum of Art, Huntington
29-48AGROSZ, Fit for Active Service, 1916–1917
29-49MAX BECKMANN, Night, 1918–1919. Oil on Canvas, 4′
4⅜″ × 5′¼″. Kunstsammlung Nordrhein-Westfalen, Düsseldorf
29-50OTTO DIX, Der Krieg (The War), 1929–1932. Oil and
Tempera on wood, 6′ 8⅓″ × 13′ 4¾. Staatliche Kunstsammlungen,
Gemäldegalerie Neue Meister, Dresden
29-51ERNST BARLACH, War Monument, Güstrow Cathedral,
Güstrow, Germany, 1927. Bronze
29-52GIORGIO DE CHIRICO, The Song of Love, 1914. Oil on
Canvas, 2′ 4¾″ × 1′ 11⅜″. Museum of Modern Art, New York
(Nelson A. Rockefeller bequest)
29-53MAX ERNST, Two Children Are Threatened by a
Nightingale, 1924. Oil on wood with wood construction, 2′ 3½″ ×
1′ 10½″ × 4½″. Museum of Modern Art, New York
Yes
29-54Adolf Hitler, accompanied by Nazi commission members,
including photographer Heinrich Hof mann, Wolfgang Willrich,
Walter Hansen, and painter Adolf Ziegler, viewing the “Entartete
Kunst” show on July 16, 1937
29-55SALVADOR DALÍ The Persistence of Memory, 1931. Oil
on Canvas, 9½″ × 1′ 1″. Museum of Modern Art, New York
Yes
29-56RENÉ MAGRITTE, The Treachery (or Perfidy) of Images,
1928–1929. Oil on Canvas, 1′ 11⅝″ × 3′ 1″. Los Angeles County
Museum of Art, Los Angeles (purchased with funds provided by
the Mr. and Mrs. William Preston Harrison Collection)
Yes
29-56AMAGRITTE, The False Mirror, 1928
29-57MERET OPPENHEIM, Object (Le Déjeuner en fourrure),
1936. Fur-covered cup, 4⅜″ diameter; saucer, 9⅜″ diameter;
spoon, 8″ long. Museum of Modern Art, New York
Yes
29-58JOAN MIRÓ, Painting, 1933. Oil on Canvas, 5′ 8″ × 6′ 5″.
Museum of Modern Art, New York (Loula D. Lasker bequest by
exchange)
Yes
29-59PAUL KLEE, Twittering Machine, 1922. Watercolor and
pen and ink, on oil transfer drawing on paper, mounted on
cardboard, 2′ 1″ × 1′ 7″. Museum of Modern Art, New York
Yes
29-59ALAM, The Jungle, 1943
Yes
29-60PIET MONDRIAN, Composition with Red, Blue, and
Yellow, 1930. Oil on Canvas, 1′ 6⅛″ × 1′ 6⅛″. Kunsthaus, Zürich.
© Mondrian/Holtzman Trust c/o HCR International, VA, USA
Yes
29-61CONSTANTIN BRANCUSI, Bird in Space, 1924. Bronze,
4′ 2⅚″ high. Philadelphia Museum of Art, Philadelphia (Louise
and Walter Arensberg Collection, 1950)
Yes
29-61ABRANCUSI, The Newborn, 1915
29-62BARBARA HEPWORTH, Oval Sculpture (No. 2), 1943,
cast 1958, plaster, 11¼″ × 1′ 4¼″ × 10″ Tate
29-63HHENRY MOORE, Reclining Figure, 1939. Elm wood, 3′
1″ × 6′ 7″ × 2′ 6″. Detroit Institute of Arts, Detroit (Founders
Society purchase with funds from the Dexter M. Ferry Jr. Trustee
Corporation)
Yes
chacmool Mesoamerican statuary type
29-64VERA MUKHINA, The Worker and the Collective Farm
Worker, Soviet Pavilion, Paris Exposition, 1937. Stainless steel,
78′ high. © Estate of Vera Mukhina/RAO, Moscow/VAGA, New
York
29-65GERRIT THOMAS RIETVELD, Schröder House (looking
northwest), Utrecht, the Netherlands, 1924
Yes
29-66WALTER GROPIUS, Shop Block (looking northeast), the
Bauhaus, Dessau, Germany, 1925–1926
Yes
29-66ABREUER, Wassily chair, 1925
29-66BSTÖLZL, Gobelin tapestry, 1927–1928
29-67LUDWIG MIES VAN DER ROHE, model for a glass
skyscraper, Berlin, Germany, 1922 (no longer extant)
29-68LE CORBUSIER, Villa Savoye (looking southeast), Poissysur-Seine, France, 1929
Yes
29-69EDWARD HOPPER, Nighthawks, 1942. Oil on Canvas, 2′
6″ × 4′ 8⅙″. Art Institute of Chicago, Chicago (Friends of
American Art Collection
Yes
29-70JACOB LAWRENCE, No. 49 from The Migration of the
Negro, 1940.1941. Tempera on Masonite, 1′ 6″ × 1′. Phillips
Collection, Washington, D.C
Yes
29-71GRANT WOOD, American Gothic, 1930. Oil on
beaverboard, 2′ 5⅞″ × 2′ ⅞″. Art Institute of Chicago, Chicago
(Friends of American Art Collection)
Yes
29-72THOMAS HART BENTON, Pioneer Days and Early
Settlers, fresco in the State Capitol, Jefferson City, Missouri,
1936. © T. H. Benton and R. P. Benton Testamentary
Trusts/UMB Bank Trustee/Licensed by VAGA, New York
29-73JOSE CLEMENTE OROZCO, Epic of American
Civilization: Hispano-America (panel 16), fresco in Baker
Memorial Library, Dartmouth College, Hanover, New Hampshire,
ca. 1932–1934
29-74DIEGO RIVERA, Ancient Mexico, detail of History of
Mexico, fresco in the Palacio Nacional, Mexico City, 1929–1935
Yes
29-74ATAMAYO, Friend of the Birds, 1944
Kahlo- Two FridasYes
29-76DOROTHEA LANGE, Migrant Mother, Nipomo Valley,
1935. Gelatin silver print, 1′ 1″ × 9″. Oakland Museum of
California, Oakland (gift of Paul S. Taylor
Yes
29-77MARGARET BOURKE-WHITE, Fort Peck Dam,
Montana, 1936. Gelatin silver print, 1′ 1″ × 10½″. Metropolitan
Museum of Art, New York (gift of Ford Motor Company and
John C. Waddell, 1987)
29-78ALEXANDER CALDER, Lobster Trap and Fish Tail,
1939. Painted sheet aluminum and steel wire, 8′ 6″ × 9′ 6″.
Museum of Modern Art, New York
29-79FRANK LLOYD WRIGHT, Kaufmann House
(Fallingwater; looking northeast), Bear Run, Pennsylvania, 1936–
1939
Yes