Femme au chapeau (Woman with a Hat), 1905

Guitar, Glass, and Bottle, 

1913

Oppressed Peoples of the Whole World (...), 1924

Artist: Piet Mondrian

Created: 1978

Created: 2004–2005

Portrait of Madame Matisse/The Green Line, 1905

Harmony in Red (The Dessert), 1908

London Bridge, 1906

Tugboat on the Seine, Chatou, 1906

Jesus Reviled, 1914-27

Sleeping Muse, 1909 

The Kiss, limestone, 1916

Independence of color from its representational role

Influence of Post-Impressionists’ freedom of brushstroke

Attention to formal elements of art (line, color, harmony of design)

Simplification of forms

Poorhouse Woman, 1907

Street, Berlin,

 1913

The Prophet, 1912 

Blue Mountain

, 1908–09

Improvisation 28 (second version),

 1912

Sketch I for “Composition VII. " 
1913

Composition VII

, 1913 

Jawlensky and Werefkin

, 1908

Stables

, 1913-14

Great Zoological Garden

, 1912

In the Style of Kairouan, 

1914

The Niesen. 1915

The Fallen Man

, 1915

The Avenger

, 1914

Der Blaue Reiter: Formed in 1911 in Munich as an association of painters and an exhibiting society led by Vasily Kandinsky and Franz Marc. Using a visual vocabulary of abstract forms and prismatic colors, Blaue Reiter artists explored the spiritual values of art as a counter to [what they saw as] the corruption and materialism of their age. The name, meaning “blue rider,” refers to a key motif in Kandinsky’s work: the horse and rider. The group, which published an influential almanac by the same name, dissolved with the onset of World War I.

Tradition of expressionism in Germany

Nationalism

Wide range of influences

Dissatisfaction with modernity

Non-objective or non-representational art 

Portrait of Gertrude Stein

, 1906

Les Demoiselles d’Avignon, 1907 

Viaduct at L’Estaque, 1908

The Reservoir, Horta de Ebro

, 1909

Still Life with Chair Caning

, 1912

Guitar

, 1912

Contrast of Forms

, 1913

Simultaneous Contrasts: Sun and Moon

, 1912–13

The Horse

, 1914

Nude Descending a Staircase, No. 2

. 1912 

Synthetic Cubism: Breaking down and then reconstructing
Analytical cubism was about breaking down an object (like a bottle) viewpoint-by-viewpoint, into a fragmentary image; whereas synthetic cubism was about flattening out the image and sweeping away the last traces of allusion to three-dimensional space.

Assemblage: Assemblage is art that is made by assembling disparate elements – often everyday objects – scavenged by the artist or bought specially

Einstein’s theory of relativity: space and time are inextricably connected

Influence of stop-action photography: People can now use time lapse photos to create similar looks as the Dynamism of Dog on a Leash painting with the motion being captured. Cubism is seen in this work because it is showing different moments in time, all at the same time. It is breaking down the moment down into different planes or dimensions. Futurists liked to show movement, time, and speed which this painting does. 

I and the Village

. 1911

Paris Through the Window

, 1913

The Great Metaphysician

, 1917 

Mystery and Melancholy of a Street

. 1914

Dynamism of a Dog on a Leash

, 1912

The City Rises

, 1910

0, 10 (Zero–Ten): The Last Futurist Exhibition

.  1915

Russian Suprematism- Name given by the Russian artist Kasimir Malevich to the abstract art he developed from 1913 characterised by basic geometric forms, such as circles, squares, lines and rectangles, painted in a limited range of colors

Russian Constructivism- Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space

Suprematism is not about a feeling, but of a sensation, while Constructivism emerged when a series of artists rejected the idea of “art for art's sake” and began devoting themselves to the practical arts of industrial design and other visual communications.

Nationalism

Russian Revolution

Suprematist Composition: White on White

, 1918

Counter-Relief,

 1915

Monument to the Third International

, 1919-20

Squares Arranged According to the Laws of Chance

, 1916-17

Dada Head

, 1920

3 Standard Stoppages, 

1913-14

Mechanical Head (Spirit of the Age)

. ca. 1920 

Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic

, 1919

Picture with Light Center

, 1919

The Volunteers (Die Freiwilligen)

, 1922-23

The Skat Players—Card Playing War Invalids

, 1920

The Funeral (Dedication to Oskar Panizza)

, 1917-18

Departure

, 1932-33

Composition in Brown and Gray

, 1913

Composition No. II, with Red and Blue

, 1929

Mondrian. 

Composition II (Composition with Red, Blue, and Yellow)

,  1930

Broadway Boogie Woogie

, 1944

Schröder House, 1924

Balance

Utopian art- an imagined, perfect society, a concept that exists in religions and cultures throughout the world, from the Christian heaven to the Tibetan earthly paradise, Shangri-La.

Search for universal truths

City

, 1928

Around the Fish

, 1926

Composition VIII

, 1923

Bauhaus Dessau

, 1926

Tapestry

, 1922-23

Study for the Triadic B

allet, 1921-23

Black, White, Yellow

, 1926 

Abstraction, absence of ornamentation

Integration of fine arts and craft, industry and design

Machine aesthetic

Design = form + function

Collaborative, community-minded approach

Affordable Design

Belief that art could improve society

Color Theory (Josef Albers)

Light-Space Modulator

, 1922-30

Biomorphic forms

Automatism

Surrealist object

Dream images

Randomness related to dream states

Juxtaposition of unrelated objects 

Stream of consciousness

Chance, irrationality

The collective unconscious

Reactions to war

Both naturalistic and non-objective forms

Two Children are Threatened by a Nightingale

, 1924 

Europe after the Rain

, 1940-42

Surrealism and Painting

, 1942

Carnival of Harlequins

, 1924-25

Painting

, 1933

The Poetess 

from the series 

Constellations

, 1940

Battle of Fishes

, 1926

Guernica

. 1937 

Girl Before a Mirror

, 1932

Self-Portrait (The White Horse Inn), 

1936-37

Some Roses and Their Phantoms,

 1952

Object (Luncheon in Fur)

. 1936 

The Human Condition, 1933

Pasiphaë,

 1943

The False Mirror, 1928

The Treachery of Images

, 1928-29

Soft Construction with Boiled Beans

, 1936

Accommodations of Desire

, 1929

Mama, Papa is Wounded

, 1927

Mobile

City Life

Midwest imagery

Murals—art for the people

Influence of art in Europe: Realism, Cubism, Futurism, Surrealism

Franklin D. Roosevelt’s New Deal (Farm Security Administration)

Native dress and subjects

Pennsylvania

 Station Excavation

, 1908

Angels Appearing Before the Shepherds

, c. 1910

My Egypt

, 1927

I Saw the Figure 5 in Gold

, 1928

Portrait of a German Officer

, 1914

. 1939

Radiator Building—Night, New York

, 1927

The Steerage

, 1907 

Hot Still-Scape for Six Colors - 7th Avenue Style

. 1940

City Building, from the mural series America Today

, 1930

American Gothic

, 1930

Aspiration

, 1936

Early Sunday Morning

, 1930

Migrant Mother, California 1936

Rosie the Riveter, 1943 

Frieda and Diego Rivera, 1931

The Two Fridas, 1939

Calla Lilly Vendor, 

1942

Gesture Painting

All-over painting

Color Field Painting 

“Zips”

Importance of feeling

Influence of Surrealism, Native American sand painting, ancient myths 

and art, ancient language and writing

Heroic scale

First international style originating from US; puts NYC on the map as art 

center

Guardians of the Secret

, 1943

Mahoning

, 1956

Untitled, 

1949

Woman, I, 1950-52

The Liver is the Cock’s Comb

, 1944

The Gate

, 1959-1960

Autumn Rhythm: 

Number 30

. 1950 

Pasiphaë

, 1943

Elegy to the Spanish Republic No. 34

, 1953-54

Number 2, 1949

Vir Heroicus Sublimus, 1950-51

Heroic Sublime Man

No. 3/No. 13

, 1949

Bed, 1955

Odalisk

. 1955–58 

Three 

Flags

. 1958 

Target with Plaster Casts

, 1955

The Gas Station

. 1963

Floor 

Cake (Giant Piece of Cake), 

1962

Soft Toilet

, 1966

Whaam!

, 1963

Drowning Girl

. 1963 

Campbell’s 

Soup Cans

. 1961–64 

Marilyn Diptych

, 1962

Portion of 

F-111

, 1965

LOVE

, 1972 

Pie Counter

, 1963

A Bigger Splash

, 1967

Enriched Bread

, 1965

Interest in mass media, consumer culture

Reaction to elitism and deep emotion of Abstract Expressionism

Similar to Dada in love of ready-made, common objects

Interested in materialism of consumer culture

Mountains and Sea

. 1952 

Interior Landscape

, 1964

Kaf, 

1959-60

Jasper’s Dilemma, 

1962-63

Empress of India

. 1965

Orange and Green

, 1966

Red Blue Green

. 1963 

Untitled Number 5

, 1975

Night Sea

, 1963

Cigarette,

 1961-66

Judd. 

Untitled

. 1969 

The X,

 1967

the nominal three (to William of Ockham)

. 1963 

Vega Per

, 1969 

Fall, 

1963

Clement Greenburg and his definitions of Modern Art, Post-Painterly Abstraction, Minimalism

Hard-Edge Abstraction 

Mass production methods in sculpture (Donald Judd)

Table with Accumulator

, 1958

I Will Not Make Any More Boring Art, 

1971

Book from the Sky

, 1987-91

Electronic Superhighway

, 1995

How to Explain Paintings to a Dead Hare

, Nov. 26, 1965

The Artist is Present, 

2010

The Dinner Party

, 1979 

The Liberation of Aunt Jemima

, 1972

Higher Goals

, 1982 

Art that can’t be collected

Improvisation/Art as experience

Art with a political point

Double Negative

, 1969-70

Lightning Field

, 1970-77

Sun Tunnels

, 1973-76

Roden Crater Project

, 1982

Running Fence, 

1972–76

The Gates, Central Park

, 1979-2005

Vietnam 

Veterans Memorial

. 1982

Spoonbridge and Cherry,

 1985-88

Tilted Arc

, 1981

Art as physical experience

Entropy—Art that changes with time

Site-specific sculpture

Taking art out of the gallery

Art that can’t be collected

Sculpture as monument (Vietnam Veterans Memorial)

Man and Woman in Large Room

, 1957

Rhapsody,

 1975-76

1000 metal square plates all the way around the gallery

Mural for Harvard Square Subway Station, 

1984 

The Red Band

, 1978

Under the Elms

, 1971-72

Dana Gordon

, 1972 

Tourists

, 1970 

Wheel of Fortune

, 1977-78

Linda

, 1975-76 

Black Bolero

, 1980

The Idleness of Sisyphus, 

1981

Untitled 

Film Still #35, 

1979

20 Plaster Surrogates, 1982-85

Untitled (We Won’t Play Nature to Your Culture

). 1983

Untitled (Your Gaze Hits the Side of My Face),

 1981 (Appropriation)

After Piet Mondrian

, 1983 (Appropriation)

The Brücke Choir

, 1983

Richter, 

Betty, 1988

Vase

, 1984

Shulamite

, 1983

 

- Post-structuralism (the denial of fixed rules in forms or structures)
- A return to ornament and embellishment

- A reintroduction of historical references (beginning in architecture)

- An interest in sense of place and local interests (vs. international style)

- Appropriation as a deconstruction of the modernist myth of genius and of authoritarian control

- Irony and skepticism

- Emphasis on multiculturalism 

- Pluralism of styles vs. a logical order

- Emphasis on collaboration vs. individual genius

- A denial of fixed truths

- Extension of Modernism, since it continues to question rules of the past

 

A return to seeking influence from the past

 

A return to expressing contemporary issues

 

For many Germans, a time of confronting and coming to terms with the Nazi past (Baselitz, Kiefer, Richter)

 

For many, a reaction to corporate, capitalist culture (Polke, Longo)

 

Pluralism of styles vs. a logical order (Richter)

Horn Players

, 1983

One-Man Show

, 1982

- Taking art to the masses

 

- Art as an object to be bought and sold, art that is not “made” by the artist

 

- Idea of fragility of life

 

- Interactive art

 

- Installations

 

- Art as political statement

- lack of narrative (Diebenkorn, Katz, Celmins)

 

- Photorealism emerges as an extreme response to non-objective and Minimalist art; also 

- as a response to photography

 

- Re-emergence of symbolism (Flack)

 

- Pattern & Decoration emerges as both a response to Minimalism and its lack of 

- embellishment and as a homage to women’s art mediums of the past

Art Part

, 1981

Untitled (Men in the Cities Series), 

1981

Schnabel, 

The Sea

, 1981

Watchtower

, 1984

Hirst, 

The Physical Impossibility of Death in the Mind of Someone Living

, 1991/2006

Michael Jackson and Bubbles

, 1988

Kui Hua Zi (Sunflower Seeds)

, 2010

Kusama, 

A Dream I Dreamed

, 2014 

Trade (Gifts for Trading Land with White People)

La Cama (The Bed

), 1987

Anatsui. 

Dzesi II

. 2006