Impression, soleil levant, 1872 ,oil painting
Claude Monet(1840-1926) French
This painting create a word--- impressionism.
 When Monet did this work, he just draw what he saw,  like the first impress in his eyes.
It became the main purpose of impressionism.

Work 2

Henri Matisse(1869—1954) French
Woman with a Hat, 1905. oil painting
Matisse's style is called Fauvism, which has existed after impressionism.
Matisse didn't like the reality, so he ignored all the details.
He didn't like light too, so there is no beautiful color like Impressionist.
He did not want his work looks like '3D', but should be 2D.
He wants to make large chunk of color to contrast, like building blocks, and his beauty comes from the color and the line.
He makes art simple.

Work 3

Avignon girls 1907 oil painting
Pablo Picasso 1881-1973  Spain
Picasso is a important figure in Cubism.
He pursue to use the skill of fragmentation and re combination the picture to show the target.
The artists from the pass always to look at people or things from the same perspective , and only show one side. Cubism is to show things in a new way, they looked things from different angles, and show both of them in a same paper by fragmentation and re combination.
In "Avignon girls", five girls are stand in front of a blue background, the background has been  segmentation too, and figures also is a combination of geometric shapes.

Bibliography:
Thoughts on Painting of Xiaogu
XiaoGu
History of Modern Art：Painting, Sculpture, Architecture
Harvard Arnason H. Harvard Arnason

Date: 1922

Medium: Oak, wool upholstery
This chair was conceived during Breuer’s first years at the Bauhaus, Weimar, and the remarkable design marks the first time he used a cantilevered frame. The profound influence of the Dutch architect and designer Gerrit Rietveld is seen in its articulated and highly abstract De Stijl–like sculptural composition.

 | Work 2 illustrating principle #1

| Artist: Edward J. Steichen (American (born Luxembourg), Bivange 1879–1973 West Redding, Connecticut)

Date: 1904, printed 1909

Medium: Gum bichromate over platinum print
Steichen added color to the platinum print that forms the foundation of this photograph by using layers of pigment suspended in a light-sensitive solution of gum arabic and potassium bichromate. Together with two variant prints in other colors, also in the Museum's collection, "The Flatiron" is the quintessential chromatic study of twilight. Clearly indebted in its composition to the Japanese woodcuts that were in vogue at the turn of the century and in its coloristic effect to the "Nocturnes" of Whistler, this picture is a prime example of the conscious effort of photographers in the circle of Alfred Stieglitz to assert the artistic potential of their medium. 

 | Work 3 illustrating principle #1

| Artist: Charles Demuth (American, Lancaster, Pennsylvania 1883–1935 Lancaster, Pennsylvania)

Date: 1920

Medium: Watercolor, gouache, and graphite on cardboard
Pictured in the center of this composition is the steeple of the old Center Methodist Episcopal Church in Provincetown, Massachusetts (now the Provincetown Heritage Museum). Demuth's Precisionist use of ruled lines, geometric forms, and crossing beams of light, is typical of his architectural paintings and drawings from the 1920s

Artist: Charles Sheeler (American, Philadelphia, Pennsylvania 1883–1965 Dobbs Ferry, New York)

Date: 1927

Medium: Gelatin silver print
A realistic painter as well as a photographer, Sheeler rarely failed to uncover harmonious coherence in the forms of indigenous American architecture. His series of photographs of the Ford plant near Detroit was commissioned by the automobile company through an advertising agency. Widely reproduced in Europe and America in the 1920s, this commanding image of technological utopia became a monument to the transcendent power of industrial production in the early modern age.

Kazimir Malevich

Composition 14t (Suprematism: Sensation of the Electron) 1916
Graphite on paper, 154 x 100mm
Collection of Kharzhiev Foundation, Amsterdam

Malevich called this process ‘dissolution’, a term with cosmic connotations: ‘The cosmos is dissolution. The Earth is a small splitting,’ as AA Leporskaia quoted her teacher in her diary. Through the dissolution of colour by the white abyss in Suprematism, the phenomenon of non-material time, linked to non-figurative space, appeared more often. In a 1918 poem, Malevich developed this idea:

Artist: Paul Klee (German (born Switzerland), Münchenbuchsee 1879–1940 Muralto-Locarno)

Date: 1923

Medium: Watercolor and transferred printing ink on paper, bordered with ink, mounted on cardboard

Imaginery beasts float within a transparent ventriloquist who appears to be all belly-except, of course, for a pair of legs, tiny arms, and a sort of head without a mouth. The little creatures inside the ventriloquist might symbolize the odd noises and voices that seem to emanate from him. The moor is indicated by the background grid of warm earth colors that turns dark toward the center and against which the figure, as part of this grid, stands out like a light-colored bubble in clear reds and blues. As if attracted by the animal sounds above him, a stray fish is about to enter a net dangling from the lower part of the ventriloquist's anatomy-perhaps to join the menagerie within.

 | Bibliography entry #1
http://www.metmuseum.org/toah/works-of-art/1983.366/
|  | Bibliography entry #2
| http://www.metmuseum.org/toah/works-of-art/33.43.39/
| Bibliography entry #3
| http://www.metmuseum.org/toah/works-of-art/1984.433.156/
| Bibliography entry #4
| http://www.metmuseum.org/toah/works-of-art/1987.1100.1/
| Bibliography entry #5
| http://www.tate.org.uk/context-comment/articles/cosmos-and-canvas
| Bibliography entry #6
| http://www.metmuseum.org/toah/works-of-art/1984.315.35/

 

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.

 | #1 Synchromy
Color was determined by its placement within the “bumps and hollows” of the composition’s pictorial space. For Stanton MacDonald-Wright, palette was structured like keys and intervals in music, with the 12 hues of the color wheel being analogous to the 12 notes within an octave on the keyboard (7 white keys, 5 black keys).   
 | #2 Pictorialism
 |Pictorialists explored subject matter associated with traditional art and exploited the “painterly” effects of labor-intensive printing processes and the rich tonalities of platinum papers. 
 | #3 Surrealism
 |Surrealism emerged out of the literary and artistic interests of Paris Dada. Poetry and painting could be transformed from objects of aesthetic contemplation into devices for psychic, and ultimately sexual, liberation.
 | #4 Cubism
Cubism has been considered the most influential art movement of the 20th century that revolutionized European art.
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.
| #5 POP Art

 |Pop art is an art movement that emerged in the mid-1950s in Britian and the late 1950s in the USA. Pop art presented a challenge to traditions of fine Art by including imagery from popular culture such as advertising and news. In pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material

 | Work 1

Artist: Gertrude Käsebier (American, 1852–1934)

Date: 1899

Medium: Platinum print

Dimensions: 23 x 13.2 cm (9 1/16 x 5 3/16 in.)

Classification: Photographs

F. Holland Day introduced Käsebier to the amateur photographer and printer Francis Watts Lee. Käsebier made this portrait of Lee’s wife, Agnes, and their daughter Peggy, almost certainly at their stylish Boston home. An exquisite description of the Victorian ideals of motherhood and femininity, reinforced by the biblical title and the print of the Annunciation on the wall behind the figures, the photograph also evokes the idyllic domesticity of the Arts and Crafts Movement. Stieglitz published the photograph in Camera Notes (July 1900) and in the first issue of Camera Work (January 1903), which was devoted to Käsebier’s work. In 1906 he included this print in an exhibition of the work of Käsebier and Clarence White at his Little Galleries of the Photo-Secession, which had opened the previous year.

 Work 2

Artist: Adolf de Meyer (American (born France), Paris 1868–1949 Los Angeles, California)

Date: ca. 1912

Medium: Platinum print

Dimensions: 32.7 x 43.5 cm (12 7/8 x 17 1/8 in.)

Classification: Photographs

De Meyer photographed the dancer Nijinsky and other members of Diaghilev's troupe when "L'Après-midi d'un Faun" was presented in Paris in 1912. It has been suggested that this photograph, the only nude by de Meyer, has some connection to the Russian ballet, but if so, it remains mysterious.
 
| Work 3

Artist: Frank Eugene (American, New York 1865–1936 Munich)

Date: 1907

Medium: Autochrome

Dimensions: 13.2 x 18 cm

Classification: Transparencies

Eugene's strong painting background and expertise in printing were patently evident in the Pictorialist photographs he made beginning about 1894. In 1902, Stieglitz invited him to become a founding member of the Photo-Secession, and his facility with complicated photographic techniques such as the gum bichromate and autochrome processes, as well as his refined aesthetic sensibility, matched the artistic ambitions of the group perfectly. One of the earliest color processes, the autochrome was not only difficult but time consuming, requiring several stages of development and careful registration alignments; the final product was a colored glass plate meant to be seen illuminated from behind. Despite its challenges, Eugene mastered it and used it often, as here in this luminous scene depicting the founder of the Photo-Secession with his daughter.

 

Artist: Alfred Stieglitz (American, Hoboken, New Jersey 1864–1946 New York)

Date: 1918

Medium: Palladium print

Dimensions: 11.7 x 9 cm (4 5/8 x 3 9/16 in.)

Classification: Photographs

"Stieglitz photographed me first at his gallery "291" in the spring of 1917. … My hands had always been admired since I was a little girl—but I never thought much about it. He wanted head and hands and arms on a pillow—in many different positions. I was asked to move my hands in many different ways—also my head—and I had to turn this way and that. … Stieglitz had a very sharp eye for what he wanted to say with the camera. When I look over the photographs Stieglitz took of me—some of them more than sixty years ago—I wonder who that person is. It is as if in my one life I have lived many lives. … His idea of a portrait was not just one picture. His dream was to start with a child at birth and photograph that child in all of its activities as it grew to be a person and on throughout its adult life. As a portrait it would be a photographic diary."

 |

Artist: Arthur Dove (American, Canandaigua, New York 1880–1946 Huntington, New York)

Date: 1930

Medium: Oil on canvas, with selective varnish

Dimensions: 29 5/8 x 39 5/8 in. (75.2 x 100.6 cm)

Classification: Paintings
Clouds and Water was inspired by the landscape of Halesite, a town on the north shore of Long Island where Dove and his companion Helen "Reds" Torr lived in the late 1920s. They resided on their boat, the Mona, in warm weather and they had just begun their first winter as caretakers of the Ketewomoke Yacht Club in November 1929. From their second-floor room at the Yacht Club, surrounded by windows on three sides, Dove and Torr had an unimpeded view of Huntington Harbor. In the airy marine prospect of Clouds and Water, several sailboats dip along the surface of the waves, and a landscape of rounded hills rises in the distance. The sky, which fills half the canvas, is banded with long curving lines that suggest wind currents. The painting's unrestrained painting style indicates Dove's philosophy about the elements of nature: they are independent yet interconnected, unique yet mutable. 

 |

Artist: Arthur Dove (American, Canandaigua, New York 1880–1946 Huntington, New York)

Date: 1935

Medium: Oil on canvas with selective varnish

Dimensions: 23 x 31 in. (58.4 x 78.7 cm)

Classification: Paintings

Living on his family farm in Geneva, New York, from 1933 to 1938, Dove frequently drew and painted the local barnyard animals. The goat here is depicted not in naturalistic colors but in the tones of soil, foliage, water, and sky, making the animal seem part of the landscape itself. This painting was first exhibited in 1935, in the artist's annual exhibition of new work at Alfred Stieglitz's New York gallery.

 |

| Artist: Edward Hopper (American, Nyack, New York 1882–1967 New York)

Date: 1930

Medium: Oil on canvas

Dimensions: 48 1/4 x 60 1/4 in. (122.6 x 153 cm)

Classification: Paintings

In Hopper’s Tables for Ladies, a waitress leans forward to adjust the vividly painted foods at the window as a couple sits quietly in the richly paneled and well-lit interior. A cashier attentively tends to business at her register. Though they appear weary and detached, these two women hold posts newly available to female city dwellers outside the home. The painting’s title alludes to a recent social innovation in which establishments advertised "tables for ladies" in order to welcome their newly mobile female customers, who, if seen dining alone in public previously, were assumed to be prostitutes.
 | Work 2

Artist: Edward Hopper (American, Nyack, New York 1882–1967 New York)

Date: 1943

Medium: Watercolor on paper

Dimensions: 21 1/4 x 27 1/8 in. (54 x 68.9 cm)

Classification: Drawings

Hopper and his wife Jo traveled to Mexico in the summer of 1943, seeking a change of scene and new subjects for Hopper's art. After stopping in Mexico City, they traveled 500 miles north to Saltillo, a smaller city whose cool, dry climate and views of nearby mountains made it a popular destination for vacationers. The Hoppers stayed at a hotel called the Guarhado House on Victoria Street, and Hopper painted several watercolors from the hotel roof. From this height, he could see the mountains over the buildings of the city, but his depictions of the scene still suggest the urban development that was blocking his enjoyment of the natural setting. In another work, he showed the colorful towers of Saltillo's eighteenth-century cathedral, a reminder of the city's roots as a Spanish settlement; here, however, he limits his scope to a partial view of some domestic architecture. The houses' simple, blocklike forms, trimmed with lattices and decorative carving, are a dazzling white against the sky and the distant hills. Hopper had initially complained that Saltillo was noisy and congested, but from his rooftop he could project onto this new setting the same stillness and solitude that pervaded his scenes of New York and New England.

 |

Artist: Edward Hopper (American, Nyack, New York 1882–1967 New York)

Date: 1921

Medium: Etching

Dimensions: Plate: 6 7/8 x 8 3/16 in. (17.4 x 20.8 cm)
Sheet: 13 3/16 x 14 7/16 in. (33.5 x 36.6 cm)

Classification: Prints
In this print, the viewer is given a bird's-eye perspective of a city street corner. Hopper has evoked an entire world with just a few elements: a storefront, a fire hydrant, and a lone walking man who is about to cross the looming shadow of a streetlight that lies across his path. The setting that inspired Hopper was an actual location in New York, which the artist also used for his oil painting New York Corner (also known as Corner Saloon, 1913; Museum of Modern Art, New York). It is a downtown street near the riverfront, marked by a simple brick building with a painted sign; yet as ordinary as this place may be, Hopper has made it seem mysterious and even threatening through the use of dark tonalities and strong compositional devices. The viewer becomes a voyeur, watching the unaware pedestrian, and a possible narrative of the man's destination at this late hour (when even the saloon is closed) extends beyond the single moment of the image. Hopper's sensibility in such a work as Night Shadows forecasts the film noir style of the 1940s, with its shadowy lighting and its narratives of crime, guilt, and betrayal.

 |

| Artist: Franz Kline (American, Wilkes-Barre, Pennsylvania 1910–1962 New York)

Date: 1959

Medium: Oil and pasted paper on paper, mounted on Masonite

Dimensions: 19 x 19 3/8 in. (48.3 x 49.2 cm)

Classification: Drawings

Kline arrived at Abstract Expressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s. By that time, he was ready to concentrate on formal concerns, and his friendship with Willem de Kooning helped pave the way. As a means to break free of figurative representation, Kline experimented with a Bell-Opticon enlarger (in de Kooning's studio) to project some of his small drawings in large scale, and he made a leap toward abstraction. By late 1950, he was exhibiting abstract work that immediately brought him success. Large-scale black and white compositions of energetic, dramatic gestures in which wide swaths of paint thrust across the canvas. For many, even these works of complete abstraction still evoke figural references (to various landscapes or urban scenes of industry, or to trees or other referents). Kline acknowledged this residue of imagery: "There are forms that are figurative to me, and if they develop into a figurative image … it's all right if they do. I don't have the feeling that something has to be completely non-associative as far as figure form is concerned."

 |

Artist: Mark Rothko (American (born Russia), Dvinsk 1903–1970 New York)

Date: 1958

Medium: Oil and acrylic with powdered pigments on canvas

Dimensions: 95 1/4 × 81 3/8 in. (241.9 × 206.7 cm)

Classification: Paintings

Abstract Expressionism, the style of painting that achieved prominence in the 1950s, encompasses two very different sensibilities. One, exemplified by the work of Jackson Pollock and Willem de Kooning, is characterized by energetic brushwork and rhythmic, dynamic compositions; the other, contemplative in tone and made up of subtle color harmonies, relatively static compositions, and simple forms, is embodied by the paintings of Mark Rothko.

 |

Artist: Jackson Pollock (American, Cody, Wyoming 1912–1956 East Hampton, New York)

Date: 1950

Medium: Enamel on canvas

Dimensions: 68 1/8 x 105 in. (173 x 266.7 cm)

Classification: Paintings

This painting is an acknowledged masterpiece from the artist's most successful period of work. Having moved from Manhattan to eastern Long Island, Pollock returned in 1947 to drip and pour techniques that he may have learned ten years earlier from David Alfaro Siquieros. The resulting "allover" paintings, made from 1947 to 1950, constitute his greatest achievement.
 |

Artist: Everett Shinn (American, Woodstown, New Jersey 1876–1953 New York)

Date: 1902

Medium: Oil on canvas board

Dimensions: 13 3/4 x 17 3/4 in. (34.9 x 45.1 cm)

Classification: Paintings

A native of New Jersey, Everett Shinn took night classes at the Pennsylvania Academy of the Fine Arts while employed as an artist-reporter at various Philadelphia newspapers. In 1897 he moved to New York to work for Joseph Pulitzer’s New York World. Among his Ashcan colleagues, Shinn was most partial to theatrical subjects, which he found on both the street and stage, treating the urban spectacle in pastel and oil. During a trip to Europe in 1900, Shinn discovered the influential work of Edgar Degas. Here, Shinn echoed the French master’s practice of placing the viewer of the painting among represented theater patrons, as a virtual member of the audience. The scene likely depicts a New York vaudeville house, where Spanish songs and dances were popular parts of the bill.

 |

|Artist: George Luks (American, Williamsport, Pennsylvania 1866–1933 New York)

Date: 1905

Medium: Oil on canvas

Dimensions: 30 x 25 in. (76.2 x 63.5 cm)

Classification: Paintings

Ashcan artist George Luks often focused his brush on urban types and individuals from impoverished and immigrant communities, such as the "Old Duchess." Featured in the "Eight" exhibition at New York’s Macbeth Galleries in 1908, the painting still had the power to shock eight years later when critic James Gibbons Huneker, a great friend and admirer of Luks, described the subject as "an elderly hag with a distinguished bearing, a depraved woman of rank, who wore five or six dresses at once, on her head a shapeless yet attractive gear, and in her pocket she carried a fat roll of bills for purposes of dissipation, or bribery, or for bailing out some Tenderloin wreck. She is maleficence incarnate."
 |

Artist: Robert Henri (American, Cincinnati, Ohio 1865–1929 New York)

Date: 1907

Medium: Oil on canvas

Dimensions: 24 x 20 in. (61 x 50.8 cm)

Classification: Paintings
The de facto leader of the Ashcan group, Robert Henri studied at the Pennsylvania Academy of the Fine Arts under Thomas Hovenden and Thomas Anshutz before seeking further training in Europe. Returning to Philadelphia in 1891, he embarked on an influential teaching career. While his crusading "art spirit" championed freedom and experimentation in his students, Henri’s own work, particularly his portraiture, was marked by a more academic formalism. This spirited depiction of a young Dutch girl reveals the influence of one of Henri’s artistic heroes, the seventeenth-century Old Master Frans Hals.

 | Bibliography entry #1 | / 1
|http://www.metmuseum.org/toah/works-of-art/33.43.132/
| Bibliography entry #2  | / 1
| http://www.metmuseum.org/toah/works-of-art/55.635.12/
| Bibliography entry #3 | / 1
| http://www.metmuseum.org/toah/hd/geok/hd_geok.htm
| Bibliography entry #4  | / 1
| http://www.metmuseum.org/toah/hd/dove/hd_dove.htm
| Bibliography entry #5 | / 1
|http://www.metmuseum.org/toah/works-of-art/31.62/
| Bibliography entry #6  | / 1
| http://www.metmuseum.org/toah/works-of-art/25.31.2/
| Bibliography entry #7 | / 1
| http://www.metmuseum.org/toah/works-of-art/64.146/
| Bibliography entry #8  | / 1
http://www.metmuseum.org/toah/works-of-art/2006.32.51/