# data[].attributes.body
Some REALLY GOOD bibliography. Hilton Kramer vs Robert Storr. That's interesting stuff.

Remember that something like Grove Art is a single source however many articles you use.

# data[].attributes.body
Umberto Boccioni's Unique Forms of Continuity in Space
1913, cast 1950, bronze

# data[].attributes.body
André Derain's Fishing Boats, Collioure
1905,  oil on canvas

# data[].attributes.body
Jean Metzinger's Table by a Window
1917,  oil on canvas

# data[].attributes.body
1. Jean Metzinger
(1883-1956)
French

1. Umberto Boccioni
(1882-1916)
Italian

3. André Derain
(1880-1954)
French

# data[].attributes.headline
Principle #3: Interest in Non-Western Traditions

# data[].attributes.subject
Principle #3: Interest in Non-Western Traditions

# data[].attributes.body
Many modernist artists and art movements were inspired by non-western traditions and artwork. Modern artists were attracted to their foreignness and their "shock value", and so many ideas, such as the abstraction of the human form and other non-classical values, were appropriated from non-western cultures. Modernists sought the simplicity, authenticity, directness of expression, and the more instinctive nature of what they called "primitive art". Specific movements that came of this include Cubism and Futurism, which both highly involved abstraction of natural forms and fragmentation.

# data[].attributes.body
Vasily Kandinsky's  Improvisation 27 (Garden of Love II)

1912,  oil on canvas

# data[].attributes.body
Marcel Duchamp's Fountain
1917,  porcelain urinal

# data[].attributes.body
Maurice de Vlaminck's The Seine at Chatou
1906,  oil on canvas

# data[].attributes.body
1. Pablo Picasso
(1881-1973)
Spanish

1. Henri Matisse
(1869-1954)
French

3. Paul Gaugin
(1848-1903)
French

# data[].attributes.body
Improvisation is an important part of many modernist movements, such as Dada, Fauvism, and Surrealism. Improvisation can be found in the way the artist applies brushstrokes, color, medium, and even subject.

# data[].attributes.body
Coming along so well!

I think the only area for improvement is bibliography. Grove Art and the Journal of Aesthetics are different sources. But various articles from Grove Art are really all the same source.

Here's the boilerplate explanation I am giving darn near every student.

You need eight (8) items on your bibliography and some of them must be books or articles in Decker Library.

If you have used one website, whether it is MoMA or the Met or Grove Art for something, then don’t use it again. You can point out, for instance, that different pages and/or articles on that site are useful, but each site is a single source.

I recommend half an hour in Decker. Librarians are there to help you. Look for a general book on Modernism, for instance. If there are movements you think of as particularly modern, you could find books on those. If you are a person who likes reading criticism, there are many anthologies of criticism on modern art.

# data[].attributes.body
Henri Mattise's Snow Flowers
1951, watercolor and gouache on cut and pasted papers

# data[].attributes.body
Paul Gaugin's I Raro Te Oviri (Under the Pandanus)
1891, oil on canvas

# data[].attributes.body
Pablo Picasso's Bust of a Man
1908, oil on canvas

# data[].attributes.body
1. Henri Matisse
(1869-1954)
French

2. Henri Rousseau
(1844-1910)
French

3. Gino Severini
(1883-1966)
Italian

# data[].attributes.body
Abstraction is when an artist includes elements that are not purely representational in their work. This could be in the way the artist makes their brushstrokes, the way they use color, or even the way they depict forms. Modernists first began using abstraction in the way they applied brushstrokes to paintings, and abstraction continued to play an increasingly important role as it expanded with the movements of Post-Impressionism, Primitivism, Fauvism, Cubism, and more.

# data[].attributes.body
1. Marcel Duchamp
(1887-1968)
French

1. Maurice de Vlaminck
(1876-1958)
French

3. Vasily Kandinsky
(1866-1944)
French

# data[].attributes.body
Just excellent. In the case of abstraction, do you include nonobjectivity, imagery totally without reference to the objects seen, in that?

Your bibliography is solid. Perhaps consider adding a book or two from Decker Library that offer you thoughts about modernism in general?

# data[].attributes.body
Gino Severini's Dynamic Hieroglyphic
1912, mixed media

# data[].attributes.body
Henri Rousseau's Jaguar Attacking a Horse (Cheval attaqué par un jagua)
1910, oil on canvas

# data[].attributes.body
Henri Matisse's The Red Studio
1911, oil on canvas

# data[].attributes.body
Many modernist artists based their entire work on one or more of the most basic elements of art. For the Fauves, it was color. For Cubists, it was shape and form. For the Futurists, it was movement. A majority of avant-garde groups based their manifestos on specific fundamentals of art like these, often contradicting or borrowing ideas from preceding movements.

# data[].attributes.body
Just terrific. I am interested in "rejecting the primacy of history painting" as opposed to the simpler terms of "realism" or "modern life." A provocative twist.

# data[].attributes.body
J. H. Rubin. "Realism." Grove Art Online. Oxford Art Online. Oxford University Press, accessed February 12, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T070996.

This article discusses the Realist movement from its beginnings throughout the period in which it flourished, the late nineteenth century. The article was helpful in describing how realism, a sub-movement of modernism, first sought to depict modern life, and so it was useful when coming up with the first principle of modernism. It also discussed Gustave Courbet and Édouard Manet's part in the realist movement. Both artist's have works that are featured here to show the first principle of modernism. The article is a reliable source because it comes from Oxford University Press and is updated multiple times a year with new and revised information.

"Modernism." Grove Art Online. Oxford Art Online. Oxford University Press, accessed February 12, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T058785.

This article discusses what the term "modernism" means and how it came to describe what we know today as modernist art. It also includes discussion about why it is so important to create art of the contemporary subject in order to be considered modern. This in particular was helpful when coming up with the first principle of modernism. The article is a reliable source because it comes from Oxford University Press and is updated multiple times a year with new and revised information.

Nelson Goodman. "Abstraction." Grove Art Online. Oxford Art Online. Oxford University Press, accessed March 6, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T000257.

This article describes what the term "abstraction" can mean and discusses the connotations it has when using the term to discuss a work of art. This article was useful to reference when looking for specific works that show abstraction and when deciding how to describe "abstraction" in the explanation of the second principle. The article is a reliable source because it comes from Oxford University Press and is updated multiple times a year with new and revised information.

Krukowski, Lucian. "Abstraction." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed March 6, 2017, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0003.

This article also defines the term of "abstraction", but it discusses more of an in-depth history of abstraction and its connection to modernist movements. This article was helpful because of its discussion of works that are not purely abstract but have elements of abstraction included. The article is a reliable source because it comes from Oxford University Press and is updated multiple times a year with new and revised information.

Tscherkes, Bohdan. "Modernism: Where Is It, What Is It Like, for What Purpose Is It There?" Positions, no. 0 (2008): 84-89. http://www.jstor.org/stable/25835094.

This article provides discussion on what modernism is and what it's purpose is now, post-modernism. It briefly mentioned how modernism inherently rejected history. I expected the article to talk more about formal aspects of modernism, but it mostly just begged questions about what modernism meant in terms of today's culture, since technically modernism is no longer "modern"; it is now history. For that reason, it wasn't entirely helpful for this project, but it was an interesting short read. The article is a reliable source because it comes from Minnesota University Press.

"New Exhibition Examines 'Primitivism' in Modern Art." MoMA, no. 32 (1984): 1-2. http://www.jstor.org/stable/4380937.

This article is a review of an exhibition that compares traditional African art to modernist art that was influenced by African art. Within the review there are examples of side by side comparisons of works that a modernist may have seen and been influenced  and the modernist work itself. The review explains "Primitivism" and how it came to affect modernist artists. This article was helpful because of the direct comparison images and because it explains how Primitivism began. The article is a reliable source because it was published by the Museum of Modern Art.

Kramer, Hilton. 2013. Triumph of modernism: the art world, 1987-2005.

Kramer's book provides a lot of in depth discussion about abstraction and modernism. I found it particularly helpful in describing modernism in only a few unifying elements. This book is a reliable source because it was reproduced several times and was written by a well-known art critic.

Storr, Robert. 2000. Modern art despite modernism. New York: Museum of Modern Art.

The beginning of this book gave helpful discussion on the definition of modernism and particularly what ties all the avant-garde together. The latter helped me the most when coming up with the final two principles for this project. This book is a reliable source because it was published by the Museum of Modern Art.

# data[].attributes.body
Henri de Toulouse-Lautrec's Woman before a Mirror
1897, oil on cardboard

# data[].attributes.body
Édouard Manet's Dejeuner sur l'herbe (Luncheon on the Grass)
1863, oil on canvas

# data[].attributes.body
Gustave Courbet's A Burial at Ornans (Un enterrement à Ornans)
1849-50, oil on canvas

# data[].attributes.body
1. Gustave Courbet
(1819-1877)
French

2. Édouard Manet
(1832-1883)
French

3. Henri de Toulouse-Lautrec
(1864-1901)
French

# data[].attributes.headline
Principle #1: Rejects the Primacy of "History Painting"

# data[].attributes.subject
Principle #1: Rejects the Primacy of "History Painting"

# data[].attributes.body
Modernism began when artists challenged the idea that high art was to only depict the elite and traditional subjects. This principle is shown when modernists depict subjects that are contemporary for their time, often the everyday lives of common people.

# data[].attributes.body
Just right. All set to start working on your ideas.