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Just a pleasure to read. And good work on the bibliography.

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Jackson Pollock
1912-1956
American
Autumn Rhythm
1950
Enamel on canvas

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Max Beckmann
1884-1950
German
Still Life with Three Skulls
1945
Oil Paint

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Vincent Van Gogh
1853-1890
Dutch
Starry Night
1889
Oil Paint

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Whether it’s paintings of humans or nature the line work in the past like the renaissance or baroque period was very curved and natural. Organic as the models were themselves. However as time went on the brushstrokes became more visible and more geometric. First the brushstrokes became more revealed in the late 1800s, as rectangles constructed a woman's dress or the reflection of the lily pond. Brushstrokes became more visible as time went on and periods changed into more calculated art forms. Wood blocks were popularized again but instead of extremely detailed woodcuts like previous past artists, modern German artists made their strokes count, jagged bodies and words, revamping an old technique into the modern age. Line work revealed not only a skill in the arts but also a skill in craftsmanship. Constructivism, an art form in 1913 Russia, focused on both arts in flat and structural forms, therefore needing line work to create sustainable structures.  Many of the styles and formatting of line work artists took from other cultures. Without the technology of travel they wouldn't have been culturally interactive and diverse in their work. To identify if a work’s modern, look at an art piece and focus on the line work. The line work may look like multiple art styles from multiple different countries but seeing it all unified in one composition separates the painting or sculpture into the modern era.

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Andy Warhol
1928-1987
Portrait of Seymour H. Knox
1985
Acrylics on canvas

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Piet Mondrian
1872-1944
French
Broadway Boogie-Woogie
1942
Oil Paint

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James Ensor
1860-1949
Belgian
Death and the Masks
1897
Oil Paint

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Rococo artists tested the waters by adding unnatural colors into their works to add a dreamlike atmosphere to the lives of the aristocrats. However the era ended and paintings and other forms of art returned back to a state of natural colors. It was the impressionists who started it again with the unnatural bright colors as the artists experimented in creating new atmospheres and amplifying the atmosphere that they already had in front of them. Other artists who continued after them used color to their advantage as in to make points about inner thinking instead of reality. Piet Mondrian used only the primary colors red, blue and yellow in a strain to simplify his work and prod at extravagant work, taking the work to spirit than reality, just like the artists in the Rococo period. However to tell the difference between the past and modern works through color, one must focus on the times. The dates of the works separate from one decade to the next. For example, Pop art colors mostly consist of neon and comic book colors. Studying the area, the 1950s, Pop art simply projects its environment, showing the popular mood of commercialism and icons. Even works painted in a traditional sense can still prove to be of this time, as a bright red can provoke a sense of Russian Communist pride, solidifying the times of the 1950s as well.

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Terrific bibliography! Don't forget about annotations, though. Just pick 8 of them and offer a sentence about what these articles offered you.

And your principles are coming right along!

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Kazimir Malevich
1879 - 1935
Russian
Suprematism, 18th Construction
1915
Oil on Canvas

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Juan Gris
1887-1927
Spanish
Still life with flowers
1912
Oil Paint

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Claude Monet
1840-1926
French
Impression, Sunrise
1872
Oil Paint

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Take a piece from the Renaissance and then take a piece from the Impressionist period. Now crop a section. The Renaissance piece can still produce a recognizable image, whether it be an object like a window or cloth. However when the impressionist piece is cropped the new composition will be completely abstract. Nothing will be recognizable in any shape or form. After all that was what made critics so upset with the style as it provided no sense of place or illusion of mass, but instead random strokes of paint.  From then cropping wasn't even necessary as the cubist period arrived, solidifying the term of abstraction. A period shaped by the new technology of their world, causing the artists to submerge their works into the ideas of consciousness rather than the modern life. The cubist work became so unrecognizable that when they painted a still life or people, the audience only saw a mixture of shapes and patterns. In the pieces the viewer could try to define and point out what shapes represented which object but even then, the cubist pieces, with their overlapping designs, would produce an new image that only the viewer could see. The time for wild patterns and shapes however subsided, as art continue to expand and modernize by simplifying.  Suprematism marks the peak of abstraction as fancy designs no longer existed in this period and solely focused on shapes to entice the audience. In these pieces, there were no objects to compare to. Instead the pieces reflected on the viewer, to make them feel something rather than simply observe an art piece. Do the crop test, receive results.

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Just excellent, Ida! Would you say that the principle "collage" might extend to include experiments with non-art, ephemeral and "low" materials?

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Richard Hamilton
1922-2011
English
Just what is it that makes today's homes so different, so appealing?
1956
Mix Media

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Raoul Hausmann
1886-1971
Austrian
Mechanical Head

1919
Mix Media

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Pablo Picasso
1881-1973
Spanish
Still Life with Chair caning
1912
Oil Paint and Chair

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Though not the first, Picasso created his first collage piece “Still Life with Chair Caning”, a still life made out of oil paint and as the canvas, the seat of a chair. Pieces done in the Renaissance or Baroque period were made with either fresco or oil paint and with no mixture of other mediums. Or at very least, uncommon mediums like chairs. Even with sculptures, the mediums didn’t include a mixture of copper and marble but one or the other. The collage style look continued on as Dadaism followed after Picasso’s work, where mixed media was used to display chaos, where nothing yet everything could be considered art. Dadaism challenged what was art by continuing the method of having ordinary objects turned into art pieces by adding an artist’s personal touch and additional mediums.  This use of taking apart and mixing mediums continued on into the 50s and 60s with Pop Art, an art style that criticized their post-war modern era, with society’s ideals of consumerism and constant over use of celebrity icons. The commercial ads in the newspapers turned into a mockery in the hands of the Pop artists, the inanimate models shaped and placed into new areas that showed the real problems of the American Dream. The style of collage still exists in modern times, as what better art can there be than ripping your material right from the world around you.

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Can you clarify "representation" for me? I am wondering if you are speaking more about "subject matter"? Representation more typically stands in opposition to abstraction. I certainly like your ideas here.

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Diego Rivera
1886-1957
Mexican
The Flower Carrier
1935
Oil Paint

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Aaron Douglas
1899-1979
American
Aspects of Negro Life: From Slavery Through Reconstruction

1934
Oil on Canvas

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Paul Gauguin
1848-1903
French
When will you Marry
1892
Oil Paint

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1. Nichols, Tom. Renaissance Art : A Beginner's Guide. Oxford: Oneworld Publications, 2010. eBook Collection (EBSCOhost), EBSCOhost (accessed February 10, 2017).
-This was a good reference that proved the Greek inspiration for the Renaissance artists Raphael and Micheanglo.
2.Vorenberg, Michael. 2001. Final freedom: the Civil War, the abolition of slavery, and the Thirteenth Amendment. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511511691.
-To prove my point of history modernizing art, I received proof that around the time art shows more people, new civil laws were introduced.
3. Stevenson, Keira. "The Harlem Renaissance." Harlem Renaissance (September 2009): 1. MAS Ultra - School Edition, EBSCOhost (accessed February 10, 2017).
-This piece gave me information on a modern art movement majoring in African-American Art in the 1920s, labeling literature and artwork produced in that time.

4. Ives, Colta. “Japonisme.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004), February 10, 2017
-It helped me find the reason for the "new" interaction between Europe and Japan that allowed for the growth of culture diffusion.
5.Souter, Gerry. 2011. Frida Kahlo. New York: Parkstone International, 2011. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed February 10, 2017).
-This book didn't simply give me Frida Kahlo's life and interactions but also Diego Rivera, both being admired by their work and discussing multi-cultural policies.
5. Skinner, Amy. 2015. Meyerhold and the Cubists : Perspectives on Painting and Performance. Bristol: Intellect, 2015. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).
-The book gives information on the cubist movement and the first known use of collage in the 1900s.
6.Jones, Amelia. 2004. Irrational Modernism : A Neurasthenic History of New York Dada. Cambridge, Mass: MIT Press, 2004. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).

-I learned about the different methods used to create Dadaism artwork.
7. Harrison, Sylvia. 2001. Pop Art and the Origins of Post-Modernism. Cambridge: Cambridge University Press, 2001. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).
-Needing a clear definition of Pop Art, I read this book and received information on Pop Art, including the duration of the period and examples of collage art.
8."Modernism." Grove Art Online. Oxford Art Online. Oxford University Press, accessed March 31, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T058785.
-This article dated the start of Modernism and the continuation, listing the different art eras that came after Impressionism, helping me solidify my claims in which periods can be considered Modern.

9. Roskill, Mark. "Cubism." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed March 31, 2017, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0141.
-This allowed me to give a clear description of the cubist period with its historical background and clear features of the artistic era.

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In the past, for example the renaissance, the subject matter was Euro-centric (white), as the artists like Raphael and Michelangelo focussed on reviving Greek Art to their century. But as art shows life in history, the reason for the lack of representation of other cultures was due to the lack of interaction between countries and the starvation of freedom people of color had in Euro-centric worlds. Then,  as Japan reopened its trade to the West in 1853 and slavery became abolished in the Americas in 1865, the movement of art modernized. Therefore, allowing people of color to expand their horizon from labor inducing jobs and Europeans to interact more with art from different cultures like Asia and eventually Africa. So as the art world continued to progress, it wasn't simply American and European artists that became definitive examples of modern art but artists like Diego Rivera and Frida Khalo and their pieces of Mexican modernity became icons of modern art, their works shown in galleries outside of their native home. So when looking at modern art, question whether the piece shows a representation of single area and class or more of a world, a world full of so many people, full of culture and stories .

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Excellent! Live the fact that you are getting your ideas down already!

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1. Nichols, Tom. Renaissance Art : A Beginner's Guide. Oxford: Oneworld Publications, 2010. eBook Collection (EBSCOhost), EBSCOhost (accessed February 10, 2017).
2.Vorenberg, Michael. 2001. Final freedom: the Civil War, the abolition of slavery, and the Thirteenth Amendment. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511511691.

3.Stevenson, Keira. "The Harlem Renaissance." Harlem Renaissance (September 2009): 1. MAS Ultra - School Edition, EBSCOhost (accessed February 10, 2017).
4.Ives, Colta. “Japonisme.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004)
5.Souter, Gerry. 2011. Frida Kahlo. New York: Parkstone International, 2011. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed February 10, 2017).
5.Jones, Amelia. 2004. Irrational Modernism : A Neurasthenic History of New York Dada. Cambridge, Mass: MIT Press, 2004. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).
6.Skinner, Amy. 2015. Meyerhold and the Cubists : Perspectives on Painting and Performance. Bristol: Intellect, 2015. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).
7.Harrison, Sylvia. 2001. Pop Art and the Origins of Post-Modernism. Cambridge: Cambridge University Press, 2001. eBook Academic Collection (EBSCOhost), EBSCOhost (accessed March 3, 2017).
8. "Modernism." Grove Art Online. Oxford Art Online. Oxford University Press, accessed March 31, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T058785.
9.Roskill, Mark. "Cubism." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed March 31, 2017, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0141.