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- Henri Matisse, Le Bonheur de Vivre (The Joy of Life), oil/canvas. 1905-06
- large pastoral landscape depicting a golden age, like Cezanne's Large Bathers, academic in scale and theme but is avant-guarde, figures appear flattened, distorition of spacial relationships, expressive color, unmodeled forms, strong outlines, "What I am after, above all, is expression.", Matisse worked in academic manner, looks rushed but through but there is several sketches shows that everything in painting was well thought out, natural world reference but denied clarity in some parts, intutative perspective not scientific, figures are outlines and filled in makes them appear flat, cartoonie, primative, simple, conveying a sense of simple expression of joy, Utopia, makes the painting large so the viewer can enter the world, nature is all of its forms/seasons, washed out brushwork only shows brushwork on purpose
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- Pablo Picasso, Les Demoiselles d'Avignon (The Young Ladies of Avaignon), oil/canvas. 1907
- deliberate mix message: Avignon was the seat of a papal court and also a red-light districit, competition of size with Matisse's The Joy of Life and Cezanne's Large Bathers, large scale academic history painting, nude women in interior spcae, western tradtion of handling the figures: like Venus Anadyomere, Archaic Greek Figures, sitted like Luncheon on the Grass, Liberan and African references: almond eyes, falttened figure, angular shapes, fruit = female sexuality, not gentle passive creatures that men want to be with, limited amount of people saw after its creation but freinds wrote alot about it so people read about the work but didn't see it, Braque mentioned it assulted the senses, created sketches and in earlier sketches it had men in it, of five nude women in a studio environment, classical reference to red curtian meaning harem, sexiually explict, bodies very geometric, simplified, non-naturalist, twisted, unnature color in faces but more fleshly tones in bodies, meant to be of nude women not an allagory, women mask-like?, powerful?
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- Georges Braque, Violin and Palette, oil/canvas, 1909-10
- small scale still life, objects pushed close to the picture plane in shallow space, Analytic because of the way the objects are broken down into parts, actual process of perception: picked objects apart and rearranged their componet parts, very limited palette, understands an entire experience of an object all at once from all points of view, sitimiltanity, history of ideas, on gird, trying to understand a 4d in a 2d space
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- Picasso, Glass and Bottle of Suze, pasted paper, gouache, and charcoal. 1912
- collage, newspaper and construction paper put together to suggest tray or round table, around the objects is newspaper and wallpaper, cubist angular shapes overlap in a shallow space, gives sense of a bar reading a newspaper while having a drink, newspaper is about First Balkan War WWI underline the moderinity of his art with reference to political chaos, more color but still limited palette, collaging rather than painting (later paints as if it was a collage), collage not seen as an artistic stratagy but Picasso turns it into an artistic tool, expressionist, differenting feeling of space, very flat
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- Vasily Kandinsky, Improvisation 28 (second verison), oil/canvas. 1912
- claimed first truly abstract art to him, painting that response to the inner state, color express different emotions, lead to a deeper awarness of spirituality and the inner world, not fully abstract has traces of landscape, horses, boats and oars, objects serve as markers to decrease or increase veiwing speed of the eye, synesthesia - could hear color, painted vibrations and harmony, uses language of music to define color and abstraction, believed through color that true spirituality can be reached, primary colors were a way to lead to the spiritual center, does sometimes put representing objects to rest the eye as an anchor, theosophy - religilous philospohy, metaphysics, all religions hold some truths
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- Umberto Boccioni, Unqiye Forms of Continuity in Space, Bronze. 1913
- form should explode in a violent burst of motion from the closed and solid mass of traditional sculpture into surronding space, a figure striding powerfully through space, masde in plaster cast in bronze after his death, broken apart because of shapes, shapes that create the body, different ways of persceving the body, motion/movement is the subject, futurism - movement and bright color an small italian movement,
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- Kazimir Malevich, Suprematist Painting: Eight Red Rectangles, oil/canvas. 1915
- "Free art from the burden of the object" with flat rectangles, suprematism - flat, abstract shapes collaged together, based on emerging socialist ideas, looking for a language that everyone can understand: geometry, has some spiritual concept, replacing madonna and child with a black square: iconography,
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- Marsden Hartley, Portrait of a German Officer, oil/canvas, 1914
- symbolic portrait of lover, symbolic reference to Freyburg (lover) include epaulettes, lance tipsand the iron cross he was awarded on the day that he died, "E" for Edmund Hartley's given name over 4=placing his heart over his, identifies subject with initials, notes age 24, funeral black background heigthens colors, reference to Bavarin, German Empire, and Prussian Flag, black and white checkboard for his lover of chess, symbols of the uniform without the body,
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- Ernst Ludwig Kirchner, Street Berlin
- two prositutes strut past bourheois men/potential clients, people appear artifitcal and dehumanizaed figures with mask like faces and stiff gestures, bodies crowded together but physcologically distant, harsh biting colors, tilited perspective, sharp brushwork, expressionistic image of urban degeneracy and alienation, sharp angular sense of expressionist brushwork on how the city and mechinism effects people in the city, figures not humanlike, influenced by cubist and primitivism, collected african and japanese prints, linocut, 5 arch students in Dresden Ernest Ludwig Kirchner the leader
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- Paula Modersohn-Becker, Self-Portrait with an Amber Necklace
- influenced by primitism, earthmother, calmly return gaze of viewer = humanity
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- Egon Schiele, Self-Portrait Nude
- physical and psychological torment, assosiate suffering and sexuality, anguish, mutilated and impotent, no right hand or genitals, Freudian outlook: symbolic self-punishment for indulgence in masturbation (lead to instanty)
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- Robert Delaunay, Homage to Bleriot
- celebrating the modern city and modern technology, ibute to Louis Bleriot a french pilot who was the first person to fly across the English Channel shown by an airplane flying over the Eiffel Tower, other circular forms protray movement of proplet, blazing sun, and the great rose window of Norte Dame, power of Christian God's light and fasting moving parts of modern machinery
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- Constantin Brancusi, The Newborn
- egg=potential for birth, growth, and development, combines disembodied head of a infant to suggest the essence of humanity at the moment of birth
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- Georgia O'Keeffe, City Night
- not celebration of New York skyscaper, put at low vantage point to make buldings loom over the viewer, dark tonalities, stark forms, exgeratted perspective produce a sense of menace
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