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89 Cards in this Set
- Front
- Back
Marsden Hartley, Painnting No. 50, 1914-15 – oil on canvas |
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Jim Dine, Green Suit, 1959 – corduroy suit, corrugated cardboard, wire, and oil paint |
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Elizabeth Murray, In the Dark, 1986 – oil on 3 canvases over shaped wooden armature |
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Elie Nadelman, Tango, 1920-24 – cherry wood with gesso and paint |
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Robert Smithson, Spiral JeFy, 1970 (outer edge is 1500’ from terminus at shore) – mud, black basalt rocks, water, salt crystals, time |
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Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.), 1991 – candy, perpetually depleted and replenished |
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Yoko Ono, Action: Cut Piece, 1964 (first performance, Yamaichi Concert Hall, Kyoto) – performer, garment, scissors, audience participants, actions |
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Lawrence Weiner, Many Things Brought from One Climate to Another to Make a Grouping of Things NotRelated to the Climate at Hand, 1981 – vinyl lettering on wall |
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Dara Birnbaum, Damnation of Faust, 1984 – video installation |
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Robert Henri, Himself and Herself, both 1913 |
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John Sloan, Chinese Restaurant, 1909 Max Weber, Chinese Restaurant, 1915 |
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Stanton MacDonald-Wright, Synchromy in Purple, 1918-19 Stanton MacDonald-Wright, Abstraction on Spectrum (Organization No. 5), 1914 |
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Stanton MacDonald-Wright, Aeroplane Synchromy in Yellow-Orange, 1920 |
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Max Weber, Rush Hour, New York, 1915 John Marin, Lower ManhaJan (Composing Derived from Top of Woolworth), 1922 |
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John Marin, Lower ManhaJan (Composing Derived from Top of Woolworth), 1922John Marin, Camden Mountain across the Bay, 1922 |
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Joseph Stella, BaJle of Lights, Coney Island, Mardi Gras, 1914-18 |
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Marsden Hartley, Maine Mountains, Autumn, 1910 Marsden Hartley, Pain;ng No. 50, 1914–15 |
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Marsden Hartley, Portrait of A German Officer, 1914 |
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Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 – showed in NYC 1913 |
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The Blind Man – photograph: A. Stieglitz, background painting: M. Hartley, The Warriors, 1913) |
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Marcel Duchamp, Fountain, 1917 |
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Arthur Dove, Golden Storm, 1925 - oil and metallic paint on plywood panel Arthur Dove, Silver Sun, 1929 - Oil, metallic paint, and wax ? on canvas |
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Arthur Dove, Waterfall, 1925 - oil and metallic paint on plywood panel Arthur Dove, Pine Tree, 1931 |
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Charles Demuth, Business, 1921 Stuart Davis, Saw, 1923 |
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Charles Demuth, Welcome to Our City, 1921 – politics of Lancaster Elsie Driggs, Pittsburgh, 1927 |
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Charles Sheeler, Classic Landscape, 1931 |
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Charles Sheeler, Upper Deck, 1929 Charles Demuth, I Saw the Figure 5 in Gold, 1928 |
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various WPA project-work: posters for Cleveland, Chicago and Springfield, and mural for San Pedro, CA Post Office |
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Lester Beall, Light, 1937 |
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Reginald Marsh, Tattoo and Haircut, 1930-32 – egg tempera on Masonite |
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Reginald Marsh, Bowery, 1930 – egg tempera on Masonite Thomas Hart Benton, Boomtown, 1928 |
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Thomas Hart Benton, America Today murals, 1930(Two views out of ten: City Building and The Changing West) |
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Grant Wood, American Gothic, 1930 |
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Grant Wood, Spring Turning, 1936 – never seen it, can’t vouch for color |
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Archibald Motley, Nightlife, 1943 Archibald Motley, Tongues (Holy Rollers), 1929 |
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Jacob Lawrence, MigraTon of the Negro (series), 1940-41 (here: panel nos. 1 and 60)60 panels, casein tempera on hardwood board, 12 x 18 ins. each |
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Aaron Douglas, Aspects of Negro Life (four murals), 1934 1. ‘Song of the Towers’ - 2. ‘From Slavery to ReconstrucBon’ 3. ‘An Idyll of the Deep South’ - 4. ‘The Negro in An African Sekng’ |
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Beauford Delaney, Self-Portrait, 1944 Edward Hopper, Automat, 1927 |
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Edward Hopper, Nighthawks, 1942 |
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Jacob Lawrence, MigraTon of the Negro (series), 1940-41 – casein on hardboard Here: panel 15: “There were lynchings.” |
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WPA FAP poster, ca. 1936. The project ended in June 1943. |
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John Steuart Curry, Tragic Prelude, 1938-40 Grant Wood, Parson Weems’s Fable, 1938 |
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While we are certain that we have expressed the spirit and life source of our Folkcorrectly in politics, we also believe that we will be capable of recognizing its culturalequivalent and [that we will] realize it. – Adolf Hitler, Party Day 1935, Nürnberg (d.4/30/1945)A young art that contains its passion in simple realism represents the new poliMcalthinking of our epoch. – Walter Horn, 1930 |
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top row, L to R: Claesz, Still Life, 1647 - Ingres, time. Moitessier, 1851 - Ingres, Scene at a Turkish Bath, 1862 bottom, L to R: Cézanne, Still Life, 1890 - Matisse, The Green Stripe, 1905 - Picasso, Les Demoiselles d'Avignon, 1907 (entered MoMA 1939) |
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Norman Rockwell, The Connoisseur, as cover art onThe Saturday Evening Post (13 Jan 1962) – for many decades a kind of Everyman’s New Yorker |
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Franz Kline, Wotan, 1950 – Oil on canvas mounted on Masonite (55 x 79 5/16 ins) Jackson Pollock, One: Number 31, 1950, 1950 – oil and enamel paint on canvas (8 x 10 ins by 17 x 5 5/8 ins) |
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Adolph Gottlieb, The Seer, 1952 Adolph Gottlieb, Tournament, 1951 |
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Willem de Kooning, Woman, 1949 (60 x 48 ins) |
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Pablo Picasso,Demoiselles d’Avignon, 1907 |
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Wm de Kooning, Night, 1948 Wm de Kooning, Untitled, 1948-49 Wm de Kooning, Excavation, 1950 |
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Willem de Kooning, two drawings entitled Two Women, both 1954 |
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Jackson Pollock, Untitled, ca. 1943 Jackson Pollock, Free Form, 1946 (oil on canvas, 19¼ x 14 ins.) |
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Jackson Pollock, Autumn Rhythm, No. 30, 1950 (105 x 207 ins.) |
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Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950 (87 x 118 ins) |
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L: Joan Miró, Shooting Star, 1938 R: Jackson Pollock, Stenographic Figure, 1942 (40 x 56 ins.) |
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Jackson PollockTotem Lesson #21945 |
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L: Thomas Hart Benton, The Ballad of the Jealous Lover of Green Valley, 1934 R: Jackson Pollock, Gothic, 1944 (7' 5/8" x 56”) |
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Norman Lewis, Prehistory, 1950 (26 x 50 ins.) |
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Norman Lewis, City Night, 1949 (24 x 18 ins.) |
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Robert Motherwell, Elegy to the Spanish Republic XXXIII, 1953-54 (82 x 114 ins) |
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Robert Motherwell, Personage, 1943 Robert Motherwell, Elegy to the Spanish Republic LV, 1955-60 |
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Mark Rothko, Rites of Lilith, 1945 |
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Mark Rothko, Tan and Purple, 1954 |
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R: Composition in Orange and Yellow, 1954 |
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L: Clyfford Still, No. 2 (Untitled), 1938 (26 x 30 ins) R: Hoodoo in the Drumheller bandlands, Alberta, Canada |
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L: Clyfford Still, 1947 – J, 1947 (70 x 62 ins) R: Clyfford Still, 1948 - A, 1948 (70 x 65 ins) |
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Clyfford Still, Untitled, 1951 (82 x 69 ins) |
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Barnett Newman, Pagan Void, 1946 (33 x 38 ins) |
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L: Barnett Newman, Onement I, 1948 (27 x 16 ins)R: Barnett Newman, Onement III, 1949 (71 x 33 ins) |
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Barnett Newman, Onement V, 1953 (60 x 38 ins) |
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Barnett Newman, Vir Heroicus Sublimis, 1950-51 (7′ 11″ x 17′ 9″) |
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Roy Lichtenstein, Little Big Painting, 1965(68 x 80 ins.) – oil and Magna on canvas (oil in the dots,Magna on the solid color areas) |
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Adolph Gottlieb, The Seer, 1950 Lee Krasner, Number 3 (Untitled), 1951 – cf. E. L. Kirchner, Women in the Street, 1915 Franz Kline, Wotan, 1950 |
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Helen Frankenthaler, Mountains and Sea, 1952 (86 5/8 x 117 1/4 in.) |
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Jackson Pollock, Lavender Mist, 1950 Helen Frankenthaler, Mountains and Sea, 1952 (both roughly 7’ x 10’) |
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Helen Frankenthaler, Shatter, 1953 (48.5x54in) Helen Frankenthaler, Before the Caves, 1958, (104 in x 102in) |
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Helen Frankenthaler, Small's Paradise, 1964 (100 x 93 5/8 in.) |
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Morris Louis, Feh, 1958 (94.5 x 140 ins.) |
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Morris Louis, Daleh, 1959 (103 x 146 ins.) |
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Morris Louis, Beta Kappa, 1961, (103x171ins.) |
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Kenneth Noland, Number One, 1958 |
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Kenneth Noland,High Easter, 1960-6164 x 66 ins. |
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Kenneth Noland, Thrust, 1963 Raphael, The Cangiani Holy Family, ca. 1507 |
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Frank Stella, Die Fahne Hoch [The Flag on High], 1958 (10’ x 6’) – commercial black enamel paint on canvas Frank Stella, Tuxedo Park Junc/on, 1960 |
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Hollis Frampton, The Secret World of Frank Stella, 1958-62 – Stella is painting Getty Tomb |
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Frank Stella, Quathlamba, 1964 Frank Stella, Harran II, 196720’10’ |
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Jules Olitski, Born in Snovsk, 1962 (10’ x 7.5’) Jules Olitski, Sacred Courtesan Blue, 1962 (90” x 80”) |
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Olitski, Patutsky in Paradise, 1966 |
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Jules Olitski in detail and in situ J ules Olitski, High A Yellow, 1967 |
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