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Bambi, Don’t Shoot – London. Source: streetartistbambi.com

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The famous British artist names "Bambi" is the greater of this beautiful art piece. As she is also anonymous, people call her the "female Banksy". She creates stencils of injustice that needs to be represented and shared with the world. This is such an empowering piece of art and also my favorite type of street art.

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Mural of Kobra, Etnias – Rio. Source: eternels-eclairs.fr

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Kobra is known to be one of the most famous artists in the world. He creates street art paintings on the walls of Spain, France, India and many other countries.  Kobra broke the record of the largest mural in the world by painting Etnias. It is 190 meters long and 15 meters high, meaning it is a total of 3,000 square meters to paint, which required 1,000 pots of white paint, 1,500 liters of color paint, 3,500 cans of aerosol spray and 40 days of work.

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Street art by Pichi and Avo, 2014 – Belgium. Source: pichiavo.com

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This art was done by two spanish artists. I love all of the different colors that have been used. It really makes the art work become eye catching.  Pichi and Avo have created a new form of street art, mixing classical sculpture, modern painting and urban art.

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Banksy, The Flower Thrower, 2003 – Jerusalem. Source: Marianne

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This piece of art was made in 2003, one year after the famous "the girl with the balloon" artwork was drawn. This was drawn in Jerusalem. The way the face isn't shown in this piece makes it more mysterious and gives the audiences a chance to imagine a sight of their own.

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Artist: Banksy Banksy, The Little Girl with the Balloon, 2002 – London. Source: Dominic Robinson

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Another beautiful piece of art by Banksy. Banksy has been famous for his street art for over 23 years. He works mainly with spray cans and stencils. As the ballon flies aways, "There is always hope", is what this picture represents. This is Banksy way of telling to world to never give up, even when everything seems to fall apart.

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The graffiti art movement caught my eye most because I've always wanted to dive deeper into understanding why artists do graffiti. Graffiti was originated in the mid to late 1960s in New York City. Because graffiti has become such a popular form of art and expression, it has now become worldwide. I personally love graffiti art because their is a story the artist is telling behind the spray paint. The artist I chose is very famous for his stencil work as well as finding street objects and implementing them towards his art to express dark humor with messages about art, philosophy, & politics. Artist Banksy continues to keep himself anonymous but is a legend when it comes to street art. He is well known to be called the "Banksy effect".

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I just love Banksy work and how he leaves you guessing abut his artwork. In the art piece its hard t see what a exactly happened and you can put different scenarios. For example the rat in the piece has a red and which makes you think if he is the one that wrote that on the wall.

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The photo of “cornbread” is a picture of him saying he is retiring from graffiti art. I chose it, as he is one who started doing graffiti art.

The second photo of “Lady Pink” i chose as it shows who is behind all lady pinks artwork. You can also see she is standing next to a piece she created. Her work seems to have a lot of vibrant colors which i love.

The third picture is “Banksy” i am in love with is work. All his work seems to look so real and it is mostly black and white but in this photo you can see that here is a re heart shaped ballon which make the art piece pop even more and makes you think weather she is letting go of the ballon or if she tried to reach for it back.

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The Girl with the Pierced Eardrum is an street art mural by Banksy in Bristol, England; a spoof of the Girl with the Pearl Earring by Vermeer. © Banksy

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Girl with a Mandolin (Fanny Tellier), Pablo Picasso, 1910, oil on canvas, 100.3 x 73.6 cm

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Cubism was an art movement created by Pablo Picasso and Georges Braque. Cubism art has been considered the most influential art movement in the 20th century. It was active between 1906 and 1914. Pablo Picasso and Georges Braque originated Cubism in Paris. The other three artists associated with this movement are Fernand Leger, Juan Gris, and Robert Delaunay. The primary visual characteristics of the cubism art movement were that it was a two-dimensional surface picture, accentuated the flat, rejected the conventional techniques of perspective, foreshortening,  modeling, chiaroscuro, and denying time-honored theories about art imitating nature. After World War I started in 1914, it affected the cubism movement as several artists were called for duty. Picasso added more realism to his paintings after returning from the army in 1917. He also started to create paintings that would reflect many wars and battles and the impression of how things are. Whereas Braque experimented with less rigidity in the abstractions and used colors that don't reflect the still life.

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Artist: Meta Vaux Warrick Fuller 1921 Ethiopian Awakening during Harlem Renaissance.

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Harlem Renaissance  "The Harlem Renaissance was a period of rich cross-disciplinary artistic and cultural activity among African Americans between the end of World War I (1917) and the onset of the Great Depression and lead up to World War II (the 1930s)” This art movement created a chance to unite African American and created an opportunity to show their abilities in art, music, and literacy in Harlem, New York.

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Harlem Renaissance  "The Harlem Renaissance was a period of rich cross-disciplinary artistic and cultural activity among African Americans between the end of World War I (1917) and the onset of the Great Depression and lead up to World War II (the 1930s)” This art movement created a chance to unite African American and created an opportunity to show their abilities in art, music, and literacy in Harlem, New York.

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1.This statue was created in the Harlem renaissance art movement to represent a young Ethiopian woman. The statue shows  the courage and bravery Ethiopian women had in the beginning of the 1990th. I chose this piece of art because at the time this art was created, Ethiopia was invaded by Italian soldiers and they fought with Italy for five year to get their independence. Also, many women participated by preparing clothes, medicine, and food for soldiers. I think this statue represents young women's in Ethiopia during the war in the renaissance movement.

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Surrealism was a movement that began in Europe during World War 1 and 2. "It was meant to unite both the concious and unconcious realms of expereince so completely that the world of dream and fantasy would be joined to the everyday rational world."- Andre Breton, "The Surrealist Manifesto."

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In this collaborative collage, seven Surrealist artists and poets assembled an anthropomorphic form by stacking found printed images of mundane objects: an umbrella is the upper body, a trunk is the torso, and nested pots are two thighs, which one participant extended in pencil. The presence of the umbrella recalls a phrase the Surrealists adopted from the poet Comte de Lautréamont (born Isidore Ducasse) as an ideal description of the principle of juxtaposition: "As beautiful as the chance encounter of a sewing machine and an umbrella on an operating table."

Gallery label from Exquisite Corpses: Drawing and Disfiguration, March 14-July 9, 2012.

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Cadavre Exquis, André Breton, Max Morise, Jeannette Ducrocq Tanguy, Pierre Naville, Benjamin Péret, Yves Tanguy, Jacques Prévert. Figure. 1928 | MoMA

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Cadavre Exquis with André Breton, Max Morise, Jeannette Ducrocq Tanguy, Pierre Naville, Benjamin Péret, Yves Tanguy, Jacques Prévert. Figure. 1928. André Breton, Max Morise, Jeannette Ducrocq Tanguy, Pierre Naville, Benjamin Péret, Yves Tanguy, Jacques Prévert. Cut-and-pasted printed paper and pencil on paper. 11 3/8 x 9" (28.9 x 22.9 cm).

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Title: Body Reflections, 1962
Artist: Ralph Goings
This workpiece was interesting to look at as well, I love how creative the piece is and just the way the objects flow together.

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Title: Wooden Bottle with Hairs, 1943
Artist: Alexander Calder
This attracted me with how interesting this sculpture is, in the manner that the individual hairs are floating outwards. It is also said that for this piece, Mr. Calder had to increasingly rely on wood rather than metal due to a shortage from world war 2.

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Not on view

Dimensions
Overall: 21 1/4 × 15 3/4 × 12 1/8in. (54 × 40 × 30.8 cm)

Accession number
80.28.2a-l

Credit line
Whitney Museum of American Art, New York; purchase, with funds from the Howard and Jean Lipman Foundation, Inc. in honor of the Museum's 50th Anniversary

Rights and reproductions
© Calder Foundation, New York / Artists Rights Society (ARS), New York

During World War II, Alexander Calder relied increasingly on wood for his sculpture due to domestic shortages of metal. A skilled wood carver since the late 1920s, he embarked on a new group of constructions in 1942 called Constellations, an imaginative response to the biomorphic Surrealism of his friends Joan Miró and Jean Arp. For Wooden Bottle with Hairs, Calder carved a curving, bottle-shaped form to which he attached small, pointed black "hairs" that dangle from wires and chains and jiggle when disturbed. Dubbed "ferocious" by the art critic Roberta Smith, who remarked that the piece suggests "nothing so much as a large peanut with a five-day-old beard," Wooden Bottle with Hairs is indeed a haunting and enigmatic object-as well as a mordantly humorous one.

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Alexander Calder | Wooden Bottle with Hairs

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During World War II, Alexander Calder relied increasingly on wood for his sculpture due to domestic shortages of metal. A skilled wood carver since the late 1920s, he embarked on a new group of constructions in 1942 called Constellations, an imaginative response to the biomorphic Surrealism of his friends Joan Miró and Jean Arp.

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Title: Terror in Brooklyn, 1941
Artist: Louis Guglielmi
This piece intrigued me when I saw the nuns huddled in a glass case. To add, there are some dark elements of skeleton remains hanging from the side of the building. It is also stated, "Guglielmi was associated with a group of American artists who used the language of European Surrealism to evoke the social and political climate of the Great Depression and the war years that followed."- Whitney Museum of American Art, New York

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Terror in Brooklyn, Louis Guglielmi's best-known work, is a highly enigmatic and personal response to social conditions. Guglielmi was associated with a group of American artists who used the language of European Surrealism to evoke the social and political climate of the Great Depression and the war years that followed. Here, in a realistic style, he portrays three women in nuns' habits huddling inside a bell jar; they gaze up at a configuration of pelvic bones suspended on the side of a building on a desolate street. First exhibited in a group show at the Downtown Gallery the year that it was painted, the canvas was then-titled Pelvic Beatitudes, Brooklyn, calling attention to the nuns' cowering reaction to the pelvis bones, which resemble a crucifix or holy relics. Asked to explain the composition, Guglielmi said that it contained "associative ideas and images determined by mood caused of irrational events in the objective world-murder in the streets, war-subjective reality." Instead of explicitly depicting the war into which he would soon be conscripted, Guglielmi envisioned a mysterious scene that invoked the period's anxious, ominous atmosphere.

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Terror in Brooklyn, Louis Guglielmi's best-known work, is a highly enigmatic and personal response to social conditions. Guglielmi was associated with a group of American artists who used the language of European Surrealism to evoke the social and political climate of the Great Depression and the war years that followed.

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Title: La Fortune
Artist: Man Ray, 1938
This art piece drew me in due to the clouds and how aesthetically pleasing it is. Its interesting the way they combined two different elements and made them work together.

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This exhibition, drawn entirely from the deep holdings of the Whitney Museum’s permanent collection, will focus on the tension and overlap between two strong currents in twentieth century art. Although the term “realism” has many facets, a basic connection to the observable world underlies all of th…

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Title: Potato
Artist: Joan Miro
This art piece attracted me a lot with the way the painting flows, it works your mind a bit since it has a recognizable starting point yet then turns into something else.

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Joan Miró. Letter to Pierre Loeb. July 9, 1928 [Archive Albert Loeb, Paris; excerpt published in English transl. in Ref. Beaumelle 2004, p. 338], remarks that he has begun to prepare canvases inspired by the Dutch masters [including this picture].

Joan Miró. Letter to Pierre Loeb. November 12, 1928 [Archive Albert Loeb, Paris; excerpt published in English transl. in Ref. Beaumelle 2004, p. 341], refers to this picture as the fourth and next to last of the Dutch interior series, commenting that it is "the one that gave me the most grief".

Joan Miró. Letter to Sebastià Gasch. August 16, 1928 [published in Ref. Ainaud de Lasarte 2009, p. 369, no. 248], states that he plans to complete five canvases [the three Dutch Interiors, including MMA 1996.403.8, this picture, and "Still Life with Lamp" (private collection; DL 1999, no. 307)].

Focius. "Les Lletres: Meridians." La Publicitat 52 (March 12, 1930), p. 6.

[Henry McBride]. "Mystic Art of Jean [sic] Miró: A Difficult Parisian Shows Here at the Valentine Gallery." Sun (October 25, 1930), p. 8, comments that in this picture and "Dutch Interior" (Museum of Modern Art, New York or Peggy Guggenheim Collection, Venice; DL 1999 nos. 304, 305) Miró "gives himself up to his fancy without reserve and records his findings with the precision of an early Dutch master".

"News and Comment on Current Art Events." New York Herald Tribune (September 27, 1931), section 8, p. 8.

Edward Alden Jewell. "'Primitive' and Otherwise." New York Times (September 27, 1931), p. X11.

Vicente Huidobro. Cahiers d'art 9, no. 1-4 (1934), fig. 25, as in the collection of Valentine Dudensing.

Martha Davidson. "Subconscious Pictography by Joan Miró." Art News 35 (December 5, 1936), pp. 11, 26.

"Miró is as Miró Does." New York Times (December 6, 1936), p. X13.

Christian Zervos. Histoire de l'art contemporain. Paris, 1938, ill. p. 426, erroneously as still in the Valentine Gallery.

"Art Shows in New York: Surrealism by Dalí and Miró." Boston Herald (December 14, 1941).

James Johnson Sweeney. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1941, p. 47, ill. frontispiece (color).

Parker Tyler. "The Amorphous and Fragmentary in Modern Art." Art News 44 (August 1945), p. 16, ill. (color).

Lionello Venturi. Pittura Contemporanea. Milan, [1947], p. 70, pl. 210, locates it in a private collection, New York.

A[lexandre]. Cirici-Pellicer. Miró y la imaginación. Barcelona, 1949, pp. 27-28, pl. 33.

J[uan].-E[duardo]. Cirlot. Joan Miró. Barcelona, 1949, p. 42.

Clement Greenberg. Joan Miró. rev. ed. [1st ed., 1948]. New York, 1950, pp. 33, 129, ill. p. 63 (color), as "The Potato," in a private collection, New York City; discusses it as part of the Dutch Interiors series.

James Thrall Soby. Joan Miró. New York, 1959, pp. 58-59, ill. (color).

Jacques Dupin. Joan Miró: Life and Work. New York, [1962], pp. 189, 192, no. 237, ill. pp. 226, 520, remarks that it might be added to the Dutch Interior series, since it is painted in the same "spirit and manner"; describes it as "the very image of the Earth in the guise of woman-Mother Earth".

G[uy]. H[abasque]. "Les livres sur l'art: Miró par Jacques Dupin." L'Oeil no. 93 (September 1962), ill. p. 51.

Gene Baro. "Miró: A Leap in the Air." Arts Magazine 39 (October 1964), p. 41.

Roland Penrose. Joan Miró. Exh. cat., Tate Gallery. London, 1964, p. 28, no. 80, pl. 17b, states that this picture's source was a seventeenth-century painting of a woman.

Herbert Juin. "Miró." Le Arti 17 (March 1967), ill. p. 9 (color).

Roland Penrose. Miró. London, 1970, pp. 63-64, 208, pl. 40, lists it as on loan to the MMA from a private collection, New York; comments that the letter "M" on the figure's hand "besides having a religious connotation, is common to most hands and happens also to be Miró's own initial".

Margit Rowell in Rosalind Krauss and Margit Rowell. Joan Miró: Magnetic Fields. Exh. cat., Solomon R. Guggenheim Museum. New York, 1972, p. 46 n. 24, cites it as an example of Miró's conflation of the motifs of woman, sun, and potato.

Douglas Cooper. Joan Miró. Exh. cat., Acquavella Galleries. New York, 1972, unpaginated, no. 19, ill. (color).

William Rubin. Miró in the Collection of the Museum of Modern Art. New York, 1973, p. 119 n. 1.

Gaston Diehl. Miró. New York, 1974, p. 36.

Jean Leymarie. "Joan Miró." Louisiana Revy 15 (November 1974), p. 6.

Jean Leymarie in Joan Miró. Exh. cat., Grand Palais. Paris, 1974, pp. 15, 119, no. 35.

Margit Rowell. Joan Mirò: Peinture=poésie. [Paris], 1976, p. 185 n. 24.

Pierre Georgel in Dessins de Miró provenant de l'atelier de l'artiste et de la Fondation Joan Miró de Barcelone. Exh. cat., Centre National d'Art et de Culture Georges Pompidou, Musée National d'Art Moderne. Paris, 1978, p. 35, no. 49 (study for the painting, ill.).

Charles W. Millard. Miró: Selected Paintings. Exh. cat., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Washington, D.C., 1980, p. 23.

Barbara Rose. Miró in America. Exh. cat., Museum of Fine Arts, Houston. Houston, 1982, pp. 25, 136-37, describes the flaming heart as a symbol of divine love and the ladder as extending between heaven and earth; interprets the raised hand and silhouetted head against a blue background, together with the letter "M" inscribed in the palm of the hand, as the artist "depicting himself as the Savior and, in the form of a potato, the food of poor people" .

Margit Rowell. The Captured Imagination: Drawings by Joan Miró from the Fundació Joan Miró, Barcelona. Exh. cat., Philadelphia Museum of Art. New York, 1987, p. 25, no. 64 (study for the painting).

Sabine Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 183-85, 307, ill. (color and bw), dates it Paris, summer 1928.

William S. Lieberman in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, frontispiece (color), fig. 3 (color, installation photo).

Jacques Dupin in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 49.

Dawn Ades in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 42, notes its relationship to the Dutch Interiors series.

Georges Raillard. Miró. Paris, 1989, p. 26.

Harry Bellet in Joan Miró: Rétrospective de l'œuvre peint. Ed. Jean-Louis Prat. Exh. cat., Fondation Maeght, Saint-Paul-de-Vence. Paris, 1990, pp. 82-83, 201, no. 35, ill. (color), surmises that the potato is depicted as one of the internal organs of the "grande femme blanche".

Anne Umland. "Joan Miró's 'Collage' of Summer 1929: 'La Peinture au défi'?" Studies in Modern Art 2: Essays on Assemblage. New York, 1992, pp. 48, 61, 67 n. 4, fig. 20, notes that the oval shapes in the lower torso of the figure reappear in a collage of 1929 (Collection Krystyna Gmurzynska-Bscher, Cologne) and an untitled painting of 1930 (Menil Collection, Houston; DL 1999, no. 321).

Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1993, pp. 50-53, fig. 52 and ill. p. 166 (color), dates it Montroig, July-December 1928; finds correlation between the shape of the potato-figure's head and the triangular shape to its left with similar elements in the collage "Spanish Dancer" (1928; private collection; Ref. Dupin 1962, no. 243).

Anne Umland in Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1993, pp. 326-27, 353 nn. 320, 329, 332, 353, states that Miró brought his recent paintings, including this one, to Paris by December 26, 1928; notes that Miró told Dupin that this painting and "Still Life with Lamp" (private collection; DL 1999, no. 307) were executed following the three Dutch Interiors.

Lilian Tone in Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1993, pp. 392-93, no. 80, ill.

Pere Gimferrer. The Roots of Miró. Barcelona, 1993, pp. 130, 139, 141, 353, no. 414, fig. 249 (color), reproduces two sketches for this painting in the Fundació Joan Miró, Barcelona, one for the triangular knife shape in the upper left (FJM no. 4349) and the other a more complete rendering of the final composition (FJM no. 813a).

Judith H. Dobrzynski. "20th Century Art Treasures Are Left to Met." New York Times (May 6, 1998), p. B6, ill.

William S. Lieberman. "Donation Gelman: l'École de Paris au Metropolitan." Connaissance des arts no. 554 (October 1998), p. 106, fig. 7 (color).

Jacques Dupin and Ariane Lelong-Mainaud. Joan Miró: Catalogue raisonné. Paintings. Vol. 1, 1908-1930. [Paris], 1999, p. 227, no. 308, ill. (color).

Sabine Rewald in "Recent Acquisitions. A Selection: 1999-2000." Metropolitan Museum of Art Bulletin 58 (Fall 2000), pp. 56-57, ill. (color) and front cover (color), notes that it is fourth in the Dutch Interiors sequence, but is not based on any particular seventeenth-century picture.

William S. Lieberman in Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York. Exh. cat., Kyoto Municipal Museum of Art. [Tokyo], 2002, pp. 93, 117, 167, no. 57, ill. (color), dates it fall 1928.

Jeffrey Price. "The Dialectical Potato: Potato in Art, Art in Potato." Art Criticism 18, no. 2 (2003), pp. 71-72.

Agnès de la Beaumelle in Joan Miró, 1917-1934. Ed. Agnès de la Beaumelle. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou, Paris. London, 2004, pp. 338, 341, 348, 350, ill. p. 371 (reproduction of Ref. Huidobro 1934).

Rémi Labrusse. Miró: Un feu dans les ruines. Paris, 2004, pp. 187, 303 n. 43.

Claude Laugier with Macha Daniel in Joan Miró, 1917-1934. Ed. Agnès de la Beaumelle. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou, Paris. London, 2004, p. 393, no. 141, ill. and ill. p. 225 (color), reproduce three sketches for this painting (Fundació Joan Miró, Barcelona, FJM nos. 793, 813a, and private collection).

M. J. Balsach. Joan Miró: Cosmogonies d'un món originari (1918-1939). Barcelona, 2007, pp. 170-71, 267, fig. 13 (color), compares it to Rembrandt's "Old Woman Praying (Rembrandt's Mother Praying)" (1629-30; Residenzgalerie Salzburg).

Anne Umland. Joan Miró: Painting and Anti-Painting, 1927-1937. Exh. cat., Museum of Modern Art. New York, 2008, pp. 46-47, 54, 221 n. 11, p. 222 nn. 11, 23, p. 233, colorpl. 16, cites a November 7, 1927 letter from Miró to Loeb in which the artist mentions plans to make constructions that winter before his trip to Holland and adds "'I have to tell you that I look at real things with increasing love-the carbide lamp, potatoes'" as evidence that this picture was conceived in conjunction with Miró's collage-constructions; elaborates on its connection to the collage "Spanish Dancer" (private collection), completed in the spring of 1928 [see Ref. Lanchner 1993], suggesting the two "might share a common moment of conception or origin"; notes that the word "femme" written on a sketch for this painting (Fundació Joan Miró, Barcelona, no. 4349) may indicate that it was conceived "in tandem" with a painting of a woman.

Jim Coddington in Anne Umland. Joan Miró: Painting and Anti-Painting, 1927-1937. Exh. cat., Museum of Modern Art. New York, 2008, pp. 18, 24, 27 n. 21.

Charles Palermo. Fixed Ecstasy: Joan Miró in the 1920s. University Park, 2008, pp. 130-32, 175-77, 228 nn. 21, 24, fig. 47 (color).

Tomàs Llorens. Miró: Earth. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2008, p. 91.

Joan Ainaud de Lasarte et al., ed. Epistolari Català Joan Miró: 1911-1945. Vol. 1, Barcelona, 2009, pp. 369-70.

Panda de Haan and Ludo van Halem. "Miró in Holland: The Dutch Interiors (1928)." Rijksmuseum Bulletin 58 (2010)/ 3 (2010), pp. 216, 228.

Karen Wilkin. "Miró's 'Dutch Interiors'." New Criterion 29 (November 2010), p. 44.

Jacques Dupin. Miró. [1st ed., 1993]. Paris, 2012, pp. 141, 144, fig. 149 (color) and. ill. front cover (color detail).

Kathryn Calley Galitz. The Metropolitan Museum of Art Masterpiece Paintings. New York, 2016, p. 525, ill. (color), colorpl. 448.

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Joan Miró | Potato | The Metropolitan Museum of Art

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Joan Miró. Letter to Pierre Loeb. July 9, 1928 [Archive Albert Loeb, Paris; excerpt published in English transl. in Ref. Beaumelle 2004, p. 338], remarks that he has begun to prepare canvases inspired by the Dutch masters [including this picture]. Joan Miró. Letter to Pierre Loeb.

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BOCA RATON by Erte, 2017, 1875, Sketched 

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The Rhythm of Colors by Sonia Delaunay, 1954, Hand Painted on canvas

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Dancer By Kobayakawa Kiyoshi, 1932, Early 1920s, Wet paint on rice paper

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By Kobayakawa Kiyoshi, 1930 June, 1977 April, Made with large oban and woodblock

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Around 1908, the Art Deco style emerged. In the 1920s and 1930s, it expanded fast across Western Europe and the United States. The Art Deco style grew in popularity and was adopted by a wide range of artists. Even though it wasn't recognized as a distinct style until the 1960s, it had an impact on the visual and decorative arts, fashion, architecture, filmmaking, and product design from that time forward. The initial appearance of Art Deco is widely attributed to the 1925 'Exposition Internationale des Arts Decoratifs et Industriels Modernes' in France. However, with the revival of capitalism and business in the 1960s, Art Deco was finally recognized as a distinct style. The goal of this movement was to enhance the decorative arts according to a utilitarian aesthetic, drawing inspiration from the Bauhaus School, Arts and Crafts movement, and Art Nouveau. However, because it contrasted with his ideas, the famed architect Le Corbusier was one of the first to label this new style as 'deco.' In fact, all artistic and ornamental elements were removed from the Bauhaus School's designs, making them incredibly simple and practical.

Kobayakawa Kiyoshi, Sonia Delaunay, and Erte are the three painters I picked. I picked these three artists because I was particularly taken with their work and the way it was created. In its own way, the art deco work is distinctive. It isn't as noticeable as grafitti or glass art, but it is really unique.

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This last one was created on 1964 by Peter Blake who used a Screenprint on a paper to create dimensions of 520 x 308 mm. The title for this was called "Beach Boys", this is also a very good example what pop art is about. In this piece from Peter we see him use multiple bright colors to bring out the print and express what music era was popular and influential during that time. That what I love about pop culture I feel like it will never end up dying out because there is also going to be new events , new forms of culture, and new generations of media.

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This was using screen print and lithograph on paper making the dimensions 315 x 239 mm. This piece was created in 1950 by Eduardo Paolozzi and he title it "Vogue Gorilla with Miss Harper". This piece was just interesting to me since it just express a hint at the popular films using gorillas in their story. I really like how the just how simple this is but express everything Eduardo was trying to say and using such a bright yellow that makes the art pop making it feel completely more like pop art.

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This Collage was made in 1947 by Eduardo Paolozzi, the materials he used were Screenprint and lithograph on paper making the dimensions 372 x 241 mm. The title of this collage was "I was a Rich Man's Plaything", this piece was very important to Pop art movement because it was the first art piece that they consider "POP ART". The way Eduardo express everything that is happening around in his social culture era in just one collage. Giving tribute to Henry Ford passing away that year and Coca Cola being so big in the advertisements.

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This painting was created by Roy Lichtenstein as well during 1963. The materials used were Oil and magna on a canvas making the dimensions 172.00 x 203.50 cm. The Title was "In the Car" , which again just express Pop art in a form from popular comics, showing what beauty and handsome was express during that time. I love again how even on a painting he still gives us that feel of artwork you would see in a comic book and the bright colors he uses makes it pop out completely.

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This was created in 1965 by Roy Lichtenstein. The title is "Reverie (from the portfolio 'Eleven Pop Artists, col. ll')" , materials used were Screenprint on paper (no. 24). The dimensions are 76.20 x 60.90 This piece catches my attention because it was about music is that era and how they typically looked. It grab my attention because he got most of his influence on comic books so I love the way most of his artwork reminds me of a style of comics.

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Hey everyone the art movement I picked was Pop Art. This movement was first found in the United States and United Kingdom during the 1950's and it is still active in present time being one of the most popular arts in modern time. Why were the characteristics so important because the visual was to express popular forms of culture during the era through art. Such as collage and painting, sketches, etc. Three main artist that started this movement was Eduardo Paolozzi , Peter Blake, and Roy Lichtenstein. During the era of the artist they mostly focus on popular media such as music, advertisement, music, technology, social events. They used what ever was influential during there time to express their art and how they viewed the situation.

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1. Look Mickey
2. Created by Roy Lichtenstein
3. Created in 1961
4. Created with Oil Paint
5. 121.9 cm × 175.3 cm
This piece draws me the most in because personally I love Disneyland and this has mickey mouse and Donald duck which I think is super cute, I also like all the bright and fun colors that are with and how they all flow. This is a great example of pop art because it involves pop culture as well as bright colors

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1. M-Maybe
2. Created by Roy Lichtenstein
3. Created in 1965
4. Created with paints
5. 152.4 cm × 152.4 cm
This piece stood out the most to me because it is more of a comic book view which I thought was a really interesting and cool idea, as well as the bright colors that also stood out too me.I also really liked how there was a speech bubble. This is a great representation of pop art because of the colors and all the designs.

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The Bargeman, Fernand Leger, 1918, Oil on Canvas, 48.9 x 54.6 cm

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This artwork by Fernand Leger attracted me because it looked very mesmerizing to look at, as I couldn't figure or think of something that it might relate to. It looked like many things were happening at the same time in one painting. According to The Met, "The Bargeman, which shows a boat set against a background dominated by the facades of houses, provided the artist with the opportunity to combine several of his favorite themes: motion, the city, and men at work. With colorful and overlapping disks, cylinders, cones, and diagonals, Léger presents a syncopated, abstract equivalent of the visual impressions of a man traveling along the Seine through Paris." This painting is a good example of the cubism movement because it is an abstract view of one particular vision that the author saw, which goes against the traditional European painting methods of 2D and 3D pictures.

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Title: A Taste of Summer

Creator: Ann Northrup, Photo by Jack Ramsdale

Date: 2008-06-01

Location: Philadelphia, PA

Location Created: Philadelphia, PA

Paint

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1. On the Balcony
2. Peter Blake
3. Created in 1955-1957
4. Acrylic paints
5. 397′ 0″ x 299′ 0″
This piece really stood out to be because it isn't the 'classic' display of pop art with all the crazy colors and designs but more of a darker piece with a few bright colors that stand out. This is a good display of pop art since there are many colors and overlapping designs.

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Title: A Peoples Progression Toward Equality

Creator: Jared Bader, Photo by Jack Ramsdale

Date: 2007-03-01

Date Created: 2007-03-01

Location: Philadelphia, PA

Location Created: Philadelphia, PA

Paint

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Title: Lincoln Legacy

Creator: Josh Sarantitis, Eric Okdeh, Photo by Jack Ramsdale

Date: 2005-01-01

Location: Philadelphia

Location Created: Philadelphia

Paint

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Title: Tree of Knowledge

Creator: Michael Webb, Photo by Steve Weinik

Date: 2003-10-01

Date Created: 2003-10-01

Location: Philadelphia, PA

Location Created: Philadelphia, PA

Paint

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Title: Gateway to Chinatown

Creator: Josh Sarantitis, Photo by Jack Ramsdale

Date: 1999-12-01

Location: Philadelphia, PA

Location Created: Philadelphia, PA

Paint

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Title: Common Threads

Creator: Meg Saligman, Photo by Steve Weinik

Date Created: 1998-01-01, 2011-10-01

Location: Philadelphia, PA

Location Created: Philadelphia, PA

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2. Umberto Boccioni
3.1911
4. Oil/ Canvas
5. 43 3/8 x 57 1/4 inches
This piece unsettled me, A lot was going on in an unusual way, The smiling woman is seen in the top left while it appears a party or dinner setting is going around. I see elements of fruits, hands, and stage lights such as a dance floor.

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1. Untitled
2. Keith Haring
3. Created in 1989
4. Created with lithography and screen printing
5. 11 by 14in
This piece stood out the most to me because i thought it was very spring like and the flowers represent the peoples faces and I thought it was very fun looking. It is a good example of pop art because of all the lines and bright colors

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1. What is the name of the art movement?

The name of the movement is Street Photography.

1. Between which years was this art movement active?

This movement was active from the 1930s till now with new street photography being taken everyday.

1. If the movement you chose is associated with a particular country or region, in what places was it found?

The movement started in the 1930s in Europe. It was founded in paris to be more specific.

1. Who are at least three of the main artists associated with this movement?

Three of the main artists associated with this movement are Henri Cartier-Bresson as well as Brassaï and André Kertész.

1. Describe the primary visual characteristics of this movement. Use concrete examples of specific works: describe, in detail, at least two specific pieces of art that exemplify the movement.

The visual characteristics of this photo are the color, or lack there of, the focus of the photo and the sharpness.

The visual characteristics of this photo are the color, space, focus, and the image being mirrored off of the buildings.

1. What were the goals or objectives of this movement? How did it get started?

The objective of this movement was to capture everyday life in photos simply allowing people and common items to show their beauty in themselves.

1. What was going on in the world while this work was being created? Give us some cultural context here, for example, was there a war going on? Was there a struggle for racial or gender equality happening? Was the artist commenting on the social or political events of his/her time?

During this time 1930 was the first major year if the depression as well as the first year of prohibition being enforced heavily. The artists were photographing the struggles of the time.

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2. Giacomo Balla
3. 1913
4. oil/canvas
5. 502 x 654 mm
This artwork reminded me of the one race track in Mario Kart I think it is either Peach or Yoshi. But I love that he combines the silver to show the car passing and the tan lines to resembles the smoke the car leaves.

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Candlestick and Playing Cards on a Table, Georges Braque, 1910, oil on canvas, 64.8 x 54 cm

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This artwork by Georges Braque attracted me because it looked like an abstract view of a house. It also looked like a warrior in a metal suit. It took me a while to see the Candlestick and the cards lying on the table. The cards I see are ace of heart and six diamonds cards to the right. This painting is a good example of the cubism movement because it is an abstract view of the still life brass candlestick, the table, and the two cards, which go against the traditional European painting methods with the angles shapes, shading, and colors.

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1. Marilyn Monroe
2. Andy Warhol
3. Created in 1967
4.  These were created as a silk screen printing
5. Dimensions of this piece was 205.44 cm × 289.56 cm consisting of around 50 images
This piece caught my eye the most since I really liked all the bright colors and how he was able to create Marilyn Monroe in many different skin colors and crazy colors. This is a good example of pop art because of all the different colors that really make it pop.

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Title: Without Chairman Mao There Would Be No New China
Artiste's Name: Yixi Deng
Date: September 1979
Publisher: People's Fine Arts Publishing House
Media used: printing on paper

After the founding of New China, people who came out of the haze of war cherished peace and stability. Our determination to defend a new life, a new era, and a new country is very strong. Therefore, a considerable part of the propaganda posters in the early days of the founding of the People's Republic of China reflected this spirit of the times. The propaganda posters around this theme can be roughly divided into three aspects: continue to strengthen the army under the strong leadership of the party; defend and promote national unity; actively call for world peace. The picture "Without Chairman Mao There Would Be No New China " fully reflects this cultural feature.

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The photograph of Mao, proclaiming the founding of the People's Republic on Tian'anmen Square on 1 October 1949, flanked by rhyming couplets, seems to occupy the space formerly reserved for the household altar.

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Without Chairman Mao there would be no new China

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Chinese Poster "Without Chairman Mao there would be no new China" | The photograph of Mao, proclaiming the founding of the People's Republic on Tian'anmen Square on 1 October 1949, flanked by rhyming couplets, seems to occupy the space formerly reserved for the household altar.

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2.Fortunato Depero
3.1930
4. tempera/ cardboard
5. 68 x 102cm
What stood out to me in this picture is that it almost immediately reminded me of the great gatsby, I could not tell you why but it reminds me of the original art for the book. The staircases and tunnels leading somewhere but to no where at the same instance.

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Pop art is a movement that emerged in the mid-20th century in which artists incorporated commonplace objects—comic strips, soup cans, newspapers, and more—into their work. The Pop art movement aimed to solidify the idea that art can draw from any source, and there is no hierarchy of culture to disrupt this. Most popular art can include soup cans and celebrities. Pop art often takes imagery that is currently in use in advertising. Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. In American art, famous  Pop Art artists included Robert Rauschenberg (1925-2008), Jasper Johns ( 1930), Roy Lichtenstein (1923-97) and Andy Warhol (1928-87).Most importantly Bright colors! Pop art is characterized by vibrant, bright colors. Primary colors red, yellow, and blue were prominent colors that appeared in many famous works. Pop Art characterized a sense of optimism during the post war consumer boom of the 1950's and 1960's. It coincided with the globalization of pop music and youth culture, personified by Elvis and The Beatles

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2. Joseph Stella
3. 1914
4. Oil/Canvas
5. 77 x 84 3/4 in
The thing that I love about this painting is the amount of intricacy of the lines with the colours. It looks like a party and it is flooded with confetti and streamers. The darkness towards the bottom resembles a floor riddled with confetti much like how you would see during mardi gras.

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Les Demoiselles d'Avignon (The Ladies of Avignon), Pablo Picasso, 1907, Oil on canvas, 96 in x 92 in

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This artwork by Pablo Picasso attracted me because it was the first cubism painting that Picasso made and showed Georges Braque. This leads them to work together on the idea of cubism for about two years. This painting shows five nude female prostitutes in a brothel on Carrer d'Avinyo in Barcelona, Spain. While all of them have distorted figures with angled shapes, the ladies on the left show facial features, and the ladies on the right are shown in African make-like features. This difference was fascinating to look at. This painting is a good example of the overall movement because it goes against the traditional painting methods of both 2D and 3D paintings. It is an abstract painting that shows things as they are.

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2. Joseph Stella
3. 1941
4. Oil/Canvas
5. 76 1/4 x 68 1/4 in.

This piece drew me in from the complexity of the lines. My boyfriend actually pointed out that when he glanced over, it looked like spiderman, but take that with a grain of salt because he wasn't wearing his glasses. I do admit taking my glasses off, I can see what he means. I love the different light parts of the painting. It reminds me of going over the bridge and seeing the cars headlights hit the beams.

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"Death to the Invader" David Alfaro Siqueiros, 1941, Fresco, dimensions unknown

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This mural stood out to me because of the bright colors and the alien UFO reminiscent swirl in the sky. Looking at the top and bottom half of the picture separately make the work seem like it is completely unrelated when it really comes together to form a story as a whole.

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Title: Strengthen revolutionary unity, move forward on the great road of socialism
Artiste's Name: Sheng Zhang
Date: November 1974
Publisher: Tianjin Picture Publishing House
Media used: printing on paper

After the 1950s, Chinese propaganda art took shape under the influence of political movements, and played an important role in social life. Among them, on the one hand, it was because of the need to consolidate the political power and build a new society at that time, and on the other hand, because of the need for continuous political movements. Therefore, in social life, propaganda and agitation work became the first task of social and political movements. Through all kinds of propaganda, timely publicity and education to the masses, raising the awareness of the masses, unifying everyone's will, and organizing everyone's strength, so as to lead the movement to the direction desired by the decision makers.

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Strengthen revolutionary unity, move forward on the great road of socialism

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Chinese Poster "Strengthen revolutionary unity, move forward on the great road of socialism" |

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1.The art movement is known as Futurism.
2. The futurism movement lastes from 1909-1944.
3. Futurism originated in Italy but was known to have spread to the US and parts of Russia, although in Russia it goes by a different name.
4. At least three main artists associated with this movement are, Filippo Marinetti, Umberto Boccioni, and Giacomo Balla.
5. Sharp lines, a variety of colours, and abstract geometric visuals to question the meaning of the piece.
6. World War One was on the rise and there was great upset everywhere, people were so dead set on keeping traditions and sticking to dated Italian ways, in which Filippo Marinetti opposed and retaliated against old ways and to embrace the future, and the innovations.

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"The White Album" album cover, Richard Hamilton, 1968, print, 12.375 square

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I chose this album because it incorporates minimalist ideals but is considered a Pop art icon. It's the only example I provided from a non US artist, Hamilton is considered one of the fathers of the movement from the UK. His straight forward design changed the way artists approached their album covers and his influence can still be seen today.

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Femme en pleurs, Pablo Picasso, 1937, Oil on canvas, 847 x 739 x 86 mm

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This artwork by Pablo Picasso attracted me because it was very intriguing to look at how he portrayed a weeping woman in this painting. The blue part in the middle is focused around her mouth. It looks like she is distraught and has a hand to cover her mouth in shock. Also, it looks like her hands are together in the formation of praying hands. When I read the description it said "Weeping Woman is based on an image of a woman holding her dead child" from the Tate website. I think that it is a good example because it goes against the traditional 3D or 2D representation of the actual picture.

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McDonalds Pickup by Ralph Goings in 1970, oil on canvas.

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"Man, Controller of the Universe" Diego Rivera, 1934, Fresco, 4.85x11.45 m 

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This mural is actually a recreation of another mural, "Man at the Crossroads" that was destroyed. The original "Man at the Crossroads" was commissioned by John Rockefeller was never finished due to its destruction.

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Big Self-Portrait by Chuck Close in 1976-77, 107.5 x 83.5 in acrylic on gessoed canvas.

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Title: Long Live Chariman Mao
Artiste's Name: Qiongwen Ha
Date: January 1964
Publisher: Shanghai People's Fine Arts Publishing House
Media used: printing on paper

The propaganda art since the 1950s closely matched the political tasks of the time. In the cooperation of this era, propaganda art not only require profound content, but also require novel style, vivid image, concise and clear, full of generalization and strong attractiveness in terms of formal language, "making people never get tired of seeing". At that time, there were also some propaganda posters reflecting the theme of urban life, such as "Long Live Chairman Mao" by Qiongwen Ha. This work is a propaganda poster that transcends the style of the times. Although the theme is "Long Live Chairman Mao", the image of Mao Zedong does not appear in the picture, but the Chinese watch in the upper left corner of the picture symbolizes "Chairman Mao on Tiananmen Gate". This poster depicts a city mother and daughter in a festival parade. In the sea of flowers formed by the flowers held by the parade, the mother wore a black velvet cheongsam, an agate brooch and pearl earrings, and the daughter wore a dress and sandals printed with tropical fish patterns, holding flowers in their hands. The dancing gesture in the upper left corner seems to be offering flowers to Chairman Mao, reflecting the happiness and sincere patriotism of the people across the country on the tenth anniversary of the National Day.

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Designer: Ha Qiongwen (哈琼文)
1964, January
Long live Chairman Mao
Mao zhuxi wansui (毛主席万岁)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社)
Size: 76.5x53 cm.
Call number: BG E12/605 (IISH collection)

A famous poster that will cause great problems for the designer during the Cultural Revolution: why did he not depict Mao? And why give prominence to such an elegant, bourgeois woman, instead of showing an ordinary worker?

NB: this poster was first published in November 1959; this is the thirteenth impression (print run 1.683.501 - 1.933.500).

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Designer: Ha Qiongwen (哈琼文) 1964, January Long live Chairman Mao Mao zhuxi wansui (毛主席万岁) Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社) Size: 76.5x53 cm. Call number: BG E12/605 (IISH collection) A famous poster that will cause great problems for the designer during the Cultural Revolution: why did he not depict Mao?

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"President Elect", James Rosenquist, 1961, oil on masonite, 89.8" x 144"

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I chose this piece because it pushes the limit of what Pop Art could be. Rosenquist's style was known for blending elements of surrealism and collage, this seminal work displays the incorporation of those styles well. The random hands coming out of JFK's face holding cake are surreal and the images stacked on top of each other make it feel collaged. Part of what adds to the weight of this work as well is the inclusion of JFK, who at the time had not yet been written into the history books.

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Medallion by Richard Mclean made in 1974, 54 3/4x67in oil on canvas.

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Pop Shop 1

Keith Haring

1987

silkscreen

12 x 15 in.

This piece stood out to me again because I have seen work of him before. He uses very simple shapes and bold lines and colors to make his artwork.

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'71 Buick by Robert Bechtle made in 1972, 47 7/8x68in oil on canvas.

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Look Mickey

Roy Lichtenstein

1961

oil paint

121.9 cm × 175.3 cm

What made this piece stand out to me was the Mickey and Donald Duck in it. I grew up watching Mickey Mouse all the time so it really reminded me of my childhood. This piece used bold color and mostly the primary colors to really make it stand out. I also liked that it had a comic book feel to it as well.

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Gum Ball No. 10: "Sugar Daddy" 66x66in on canvas, 1975. By Charles Bell

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Crack is Wack

Keith Haring

1986

paint(mural)

16ft x 26ft

This piece stood out to me because I didn’t realize I have seen many pieces of his art before on clothing and just social media. His artwork seems more modern than most and also very simple. This piece was a simple colored background and very bold cartoonish figures that attracted me. Also the title and wording in this piece stood out because it was an anti-drug promotion.

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"Prometheus" Jose Clemente Orozco, 1930, Fresco, 20x28 ft

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This mural stood out to me because it was the first fresco to be painted in the United States. Orozco was commissioned by Pomona College for this piece, which is still on display today in the Frary Dining Hall.

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Mural by Banksy, Banksy, spray paint on concrete

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Mural by Banksy - Banksy - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Title: Midwinter's Sacrifice

Creator: Carl Larsson

Date Created: 1914/1915

Physical Dimensions: w13600 x h6400 cm (without frame)

Type: Painting

Rights: Nationalmuseum, Nationalmuseum

Medium: Oil on canvas

Midwinter Sacrifice is heavily influenced by Art Nouveau. With big, golden portions, the shape is absolutely linear and the color scale is intense. The relief-like composition depicts a square in front of a pagan temple just before a sacrifice is performed. The murdered king has been brought naked on a golden sled in front of the High Priest. His blade is hidden behind his back by the executioner. Women execute an exuberant dance to the left, and men blow onto serpentine bronze wind instruments as the monarch is accompanied by highly armed troops.

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Whaam!

Roy Lichtenstein

1963

acrylic and oil paint and canvas

1747 × 4084 × 60 mm

This piece stood out to me because of the fact that this is how all comics look now. Very bold lines and bold colors as well. The piece almost immediately draws you to the big bold and bright “whaam!”.

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Photorealism was started in the 1960s and continues to this day. It focuses on achieving maximum verisimilitude with a photo of something (IE this gumball machine). Some of the focuses of this art style is on correct lighting and visual acuity and similarity to the photo including imperfections such as lens distortion. Three important artists of the photorealist movement were Charles Bell, Robert Bechtle, and Chuck Close.

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"Radiant Baby", Keith Haring, 1990, silkscreen, 25" x 21"

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I chose this piece because it's a good example of influential pop art that didn't directly come out of the movement in the 50's/60's. Keith Haring came more out of the Graffiti subculture of late 70's NYC but his style has all the hallmarks of pop art. Simple, stripped down with popping colors.

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Title: Albert Street

Creator: Mikhail Eisenstein

Construction Start: 1901

Length: 255 m (837 ft)

Type: Buildings

Medium: Construction Material

The street is in central Riga, and named after Bishop Albert, who founded Riga in 1201. The architect Mikhail Eisenstein, who was particularly active in Riga around the turn of the twentieth century, created several of the apartment structures along the street. The several unique, ornamental structures along Albert street reflect his ingenuity. The architectural style incorporates structural and ornamental aspects associated with romantic nationalism, which was popular in northern Europe at the time.

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An Eye, M-97, 2013, spray paint on concrete

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Marilyn Diptych

Andy Warhol

1962

acrylic paint and canvas

each canvas: 2054 × 1448 × 20 mm

What attracted me to this piece was how simple yet creative it was. It was really just the same painting over and over again but the precision was well maintained through the piece. Also the bold colors really stood out to me.

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6.11.13 - Vor138 - Google Arts & Culture

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"La Nueva Democracia y La Indepencia", David Alfaro Siqueiros, 1944, 5.5x11.8 m

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This particular selection is actually from the larger whole, "Nueva Democracia". This mural stood out to me because of the subject's expressive facial expression. She looks as if she is tired and in agony, which I think are two emotions that can be difficult to convey through a painting.

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Barbara Kruger,  "Just be yourself", 1999-2000 

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Feminist Art was the movement that started at the beginning of 1960s and 1970s. According to Art Story, "in 1971 at the California Institute of the Arts, Judy Chicago, and Miriam Schapiro founded the first Feminist Art program." This movement began in America in its fight for gender rights, specifically in Fresno, California.

The Feminist art representatives are: "Judy Chicago, one of the pioneers of Feminist Art in the 1970s." Chicago pays attention to female artists questioning the men's dominance through Art. Her most famous representative work is "The Dinner Party" (1979), in which she acknowledges the strengths and celebrates the triumphs of women.

Miriam Schapiro represented a female profile; her goal was to find recognition for female artists. Schapiro supported Chicago in The Feminist Art Project and Womanhouse. Barbara Kruger is best known for her printing technique in which she engraves female images and her irony and satire characterization of her works.

During World War II, men were on the battlefield; for that reason government encouraged women to go out of their homes to work in men's jobs such as factories and war work industries. In this context, J. Howard Miller-Graphic Designer released "We Can Do It!," a photograph of a woman flexing her biceps and demonstrating her physical strength. Its artwork became a symbol of "female patriotism," the feminist movement; it is part of the history of the United States.

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The pop art movement started in the 1950s and really took off in the 1960s and represented a new art due to new media and mass production and really represented pop culture in society at the time. It also challenged the previous strict ideas on what art is and is not. Pop are was bold and bright and proved that inspiration can come from anything. This art form can be described at popular, low-cost, and gimmicky.

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10.14.13, Jerms and Topaz Graffiti, 2014, spray paint on concrete

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10.14.13 - Jerms and Topaz Graffiti - Google Arts & Culture

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Title: Celebrating the Holiday
Artiste's Name: Biwu Zhang
Date: May 1957
Publisher: Shanghai Picture Publishing House
Media used: printing on paper

In addition to the Propaganda Art for children, some important node works were also produced during this period. Most of these works reflect the theme of festivals and urban life, that is, Propaganda Art released in conjunction with National Day, "May 1st" Labor Day and other festivals, such as " Celebrating the holiday" Biwu Zhang.

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Chinese Poster “Celebrating the holiday” |

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"Mao", Andy Warhol, 1972, acrylic and silkscreen on canvas, 12" x 10.5"

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This piece has a lot of weight when the political context is considered. Mao Zedong was one of the most influential political figures in history who was the communist revolutionary who founded the Peoples Republic of China. This painting comes from a series of 199 different colored prints that were created after President Nixon met with Chairman Mao, which ended "years of diplomatic isolation between the two nations".

https://www.metmuseum.org/art/collection/search/677119

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ERNEST ZACHAREV, Enjoy Graffiti, ColorsInL, Ernest Zacharev

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The Graffiti art movement is an ongoing movement that originated in New York City in the late 1960s. Earlier graffiti artists would usually sign their pieces with their last name and the street they lived on. Even though the graffiti began in New York City it has now become a worldwide movement with popular in the large cities of most countries.

The three main artists associated with this movement are Banksy, Shai Dahan, and Omen. The primary visual characteristics of graffiti are spray painted words or pictures on concrete usually with a message about current social or political issues. When this movement was being created the Vietnam War was going on as well as the protests against the war, and the civil rights movement. All of these events affected how the graffiti art movement evolved.

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ERNEST ZACHAREV, Enjoy Graffiti, ColorsInLA - Ernest Zacharev - Google Arts & Culture

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Enjoy Graffiti by Ernest Zacharev in Downtown Los Angeles, California, USA Photo by ColorsInLA

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Nature Morte (Violon et Compotier), also titled Still Life (Violin and Candlestick), Georges Braque, 1910, Oil on canvas, 60.96 cm x 50.17 cm

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This artwork by Georges Braque attracted me because first I thought that it was a cat sitting on a wall, and then it looked like futuristic buildings that were distorted. It wasn't until I read the title that I realized that it was a painting of Violin and Candlestick. Another thing that attracted me to the painting was the use of colors and the shading that was done around the violin even though it is distorted. It is a good example of the overall movement because it is an abstract view of the violin and candlestick.

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Art Nouveau desk for Anthony Hail and James Garner

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Art Nouveau desk for Anthony Hail and James Garner

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Title: Art Nouveau desk for Anthony Hail and James Garner

Artist Name: John Dickinson

Date Created: 1967

Classification: design drawing

Medium: graphite on paper

Dimensions: 18 in. × 23 7/8 in. (45.72 cm × 60.64 cm)

The sketch shows the desk with Art Nouveau style. The desk has typical curves that present for the style itself. It is one of the significant examples of Art Nouveau in crafting.

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"Whaam!", Roy Lichtenstein, 1963, magna acrylic and oil on canvas, 68" x 160"

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Being a huge fan of comics, I gravitated not only towards this movement but this artist specifically. In my research, I found that Lichtenstein directly adapted some of DC comics art and reinterpreted them on canvas. This connection is so clearly illustrated by this piece as it looks to be taken directly from a comic spread.

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The graffiti art movement we see today came about as a result of politically active gang members in the 1960s and 1970s. Graffiti was a pioneering art form between 1969 and 1974. New Yorkers began spray painting images on buildings and on subway trains with spray paint in the 1970s. Graffiti varies in style from bold graphic images to stylized monograms.

The world's first modern graffiti artist was a 12-year-old troublemaker living in Philadelphia's Youth Development Center, Darryl "Cornbread" McCray. Graffiti or hip-hop culture grew out of New York City's black and Latino communities. The spray can was a major influence in this movement.

Modern art was born in New York during the 1960s when graffiti became popular. Painting names on buildings, or tagging buildings, became a new art form in the 1970s. McCray was recruited by Mayor Wilson Goode in 1984 to combat tagging among inner-city youth. The Anti-Graffiti Network became the Mural Arts Program, a national project of great importance.

I have seen different types of graffiti art done by Banksy, Lady Pink, and Darryl “Cornbread.”

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Title: Tournée du Chat Noir

Creator: Théophile Alexandre Steinlen

Date Created: 1896

Physical Dimensions: w959 x h1359 mm

Culture: French

Type: Poster

Rights: Collection Zimmerli Art Museum at Rutgers University. Gift of Susan Schimmel Goldstein, Photo by Jack Abraham

Medium: Color lithograph

In 1881, Montmartre's Chat Noir (The Black Cat) opened as an artistic cabaret, and it quickly became a popular gathering place for Montmartre's young artists and authors. The poster presents Art Nouveau by using all the curves for the art and the font. We can see the random but organized.

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"Pan American Unity" Diego Rivera, 1940, Fresco on Plaster, 246x888 in

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I love this particular mural because of all the different elements involved. Every time I look at it, I find a new detail I hadn't seen before. I love that the painting was done on separate panels that come together as one cohesive work.

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"Shot Marilyns", Andy Warhol, 1964, painting on canvas, four 40 inch squares

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The Pop Art movement was most prominent from the mid 1950's through the 60's in both the US and the UK. Three influential artists from this movement include Andy Warhol, Roy Lichtenstein, and Keith Haring. This movement is characterized by simpler compositions mostly derived from popular culture of the time and makes use of vibrant and popping colors. During the time of the movement the world was in an exciting and turbulent place, major events like the Civil Rights Movement, the Vietnam War, and the rise of counterculture all had a profound influence on art.

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Title: Salon des Cent

Creator: Eugène Samuel Grasset

Date Created: 1894

Location: France

Physical Dimensions: Sheet: 23 1/4 x 15 in. (59.06 x 38.1 cm)

Medium: Photorelief etching in seven colors: green, pale yellow green, dark turquoise, light ocher, reddish brown, dark gray, and black

De Feutre's interest in medieval periods is shown in the artwork. The poster depicts a simply clothed young woman staring intently over an umbel of angelica, with a bold composition filling the frame.

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"Gods of the Modern World" (A panel from the Pan American Unity Mural), Jose Clemente Orozco 1932-1934, Fresco/Paint on panel, 22x24 ft

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I chose to research the muralismo movement. This movement was funded and founded by the Mexican government and began after the Mexican Revolution. Muralismo began around the 1920’s and lasted through the 1970’s in Mexico but served as inspiration for the Chicano art mover=ment in the United States in years to come. Muralismo originally began as an attempt to unify the Mexican government with its citizens again post-war.

Some of the most notable artists to emerge during the muralismo movement were Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Muralismo is best described as large-scale politically and socially motivated messages that were painted on walls in public spaces around Mexico. The primary characteristics of muralismo era art is the political message and large scale of the work itself. Since the artists were working in contract with the Mexican government, pieces from the muralismo period have political messages to convey in their art and depictions.

One of the most well known Muralismo artists was Diego Rivera. His painting, “Flower Vendor” or “Vendedora de Flores” shows a woman holding a large basket of white lilies on her back. The woman wears a white shawl with tassels hanging off the ends. The basket is a brown, woven material with a blue strip of fabric to tie it onto the woman’s body. The painting has an all black background that helps the reds, whites and blues pop out. The woman is looking down at the ground and appears to be in a squatting position.

Another well known muralist from this movement was David Alfaro Siqueiros. Siqueiros’s mural titled, “The Child Mother” shows two figures. One is a young but weathered looking girl who is dressed in white. On her back is an infant wrapped in blankets. The baby has a scowl on its face and the mother looks tired. Both the mother and child have very similar faces and almost look like versions of each other at different ages. The background is a non-specific mixture of rusty reds, browns and black. There are some lighter spots that appear to show the existence of light in the background of the painting. Both the mother and the child appear to be looking slightly down and to the right.

The Muralismo movement was actually started by the Mexican government after the Mexican revolution. The government contracted artists to paint murals with political messages in an effort to repair relations between the government and the citizens. The goal of the muralismo movement was to promote a political agenda regarding the recent end of a social revolution.

During the time muralismo took off, Mexico had just finished fighting the Mexican revolution. During this revolution, Mexicans declared independence and ended the Diaz dictatorship that governed their land and people. Since the artists were hired by the government, the art was most definitely political propaganda. The entire purpose of employing these artists was to bolster support during times of change and uncertainty after the fall of the Diaz empire and dictatorship in a now post-socialist revolution society.

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Cut-and-pasted gelatin silver prints with crayon and transfer type on printed paper with typewriting, dimensions 27 3/8 x 43" (69.5 x 109.2 cm), 1976

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Art # 5  "Death of Patriarchy" by Mary Beth Edelson

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Art # 5  "Death of Patriarchy" by Mary Beth Edelson

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Mary Beth Edelson was born in 1933 and died on April 20, 202. She was an American artist who pioneered the Feminist Art Movement. This artistic work represents the power and protagonist of women as they are all women. Her stage features 26 women showing different emotions; most look happy, and others wait for what will happen. One of them has a scalpel to apply to the corpse, which, according to the work title, represents the patriarchy that limits women's rights, preventing them from standing out for their merits. It has a background similar to Da Vinci's painting "The Last Supper," but in black and white and with more than 12 persons.

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For my last piece, I wanted to find one from a small artist and having to do with cats. I thought this was perfect because the cats represent the phases of the moon and the full moon just happened on March 18th. As serious as many paintings can get, many are just made by artists who enjoy certain things and want to create a piece of those just to have fun

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Art Nouveau (French for "New Style") is a decorative art style that was most successful between about 1890 and 1910. Its name was based on the gallery of Samuel (Siegfried) Bing, La Maison de l'Art nouveau. During the time, designers tried to humanize the unnaturally tall, box-shaped structures by applying ornamental themes that evoked the natural world. The style differed greatly depending on the location and materials used.

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Oiseau de feu (Firebird), Renee Lalique, 1922. Medium: glass, bronze, electric wiring. Dimensions:  Overall H: 42.2 cm; (a) Glass Luminaire W: 44 cm; (b) Base W

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This piece got my attention because it is beautifully articulate and it's a very unique decoration, not something you would often find today. Its a great example of the Art Deco style because it encompasses nearly all of the characteristics of the movement. It uses both natural and man made materials. combining intricatlely detailed artwork with other geometric shapes and repetitive design elements. Its a illuminated table decoration, serving no other purpose than as a luxury art piece. It's really one of my favorite examples of Art Deco I've come across.