Answer 4 out of 5 questions
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AGNY2020StudyPack_2.pptxAGNY 2019 study pack # 2
Max Weber, Chinese Restaurant, 1915
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John Sloan,
Chinese Restaurant, 1909
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Marsden Hartley, The Warriors, 1913
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Dove, Sentimental Music, 1913 (pastel)
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O’Keeffe, Drawing XIII, 1915
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O’Keeffe, Train at Night in the Desert, 1916
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O’Keeffe solo exhibition at “291,” 1917
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Stieglitz, Last Days of "291," 1917
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Francis Picabia, Here, This is Stieglitz Here, 1915
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Man Ray, Portrait of Alfred Stieglitz, 1913
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Marsden Hartley, Portrait of a German Officer, 1914
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Charles Demuth, I Saw the Figure 5 in Gold, 1928
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Morton Schamberg & Baroness Elsa von Freytag-Loringhoven, God, c. 1917
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Duchamp, Fountain, 1917 (photo by Alfred Stieglitz)
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Duchamp, Paris Air, 1919
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Stieglitz, Old and New New York, 1910
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Bertram Hartman, Trinity Church and Wall Street, 1929
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CCass Gilbert, Woolworth Building, 1913 “tallest building in the world” (1913-1930)
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John Marin, Woolworth Bldg.,No. 28, 1912
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Stella, The Voice of the City of New York Interpreted, 1920-22
The Battery
The Great White
Way Leaving the
Subway
The Prow
Broadway
Brooklyn Bridge
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Paul Strand, Wall Street, 1915
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Georgia O'Keeffe, New York Street with Moon, 1926
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Georgia O'Keeffe, Radiator Building at Night, 1926
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Charles Demuth, Waiters at the Brevoort, ca. 1915
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Guy Pène du Bois, Mr. and Mrs. Chester Dale Dine Out, 1924
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John Sloan, The Lafayette, 1927
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John Sloan, Arch Conspirators, 1917
A mock revolution was held atop Washington Square Arch in January 23, 1917. From left to right: Charles Frederick Ellis, Marcel Duchamp (standing), Gertrude S. Drick ("Woe"), Allen Russell Mann, Betty Turner, John Sloan
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Gallatin’s Gallery of Living Art, NYU, c. 1935
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Between 1927 and 1943, New York University was home to A.E. Gallatin's Gallery of Living Art—renamed the Museum of Living Art in 1936
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Robert Henri, Gertrude Vanderbilt Whitney, 1916
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Whitney, Christopher Columbus, 1929 (Huelva, Spain)
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Whitney, Titanic Memorial, 1931 (Washington, D.C.)
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The original Whitney Museum of American Art at 10 West 8th Street, founded 1931
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current Whitney Museum of American Art, 2015, Designed by architect Renzo Piano
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Charles Ebbets, Lunch Atop a Skyscraper, 69th Floor, RCA Bldg., 1932
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Raymond Hood, RCA Bldg., 30 Rockefeller Plaza, NYC 1933
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Paul Manship, Prometheus, Rockefeller Plaza, 1934
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Lee Lawrie, Atlas, 1936 (International Bldg. Rockefeller Center)
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Isamu Noguchi, News, 1940 (Associated Press Bldg.)
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Stuart Davis, Men Without Women, 1932 (Men’s Smoking Lounge), Radio City Music Hall
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Philip L. Goodwin and Edward Durell Stone, The Museum of Modern Art, 1939 (model)
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Philip L. Goodwin and Edward Durell Stone, The Museum of Modern Art, 1939
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Alexander Calder,
Lobster Trap and Fish Tail, 1939
(on original main staircase at MoMA)
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Barr at MoMA, c. 1950
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1953: The Abby Aldrich Rockefeller Sculpture Garden, designed by Philip Johnson
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Thomas Hart Benton, had lined the third-floor New School boardroom with nine panels of what would be a 10-panel mural, America Today (photo c. 1930s)
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Thomas Hart Benton, America Today, 1930-1 (now: The Metropolitan Museum of Art)
Commissioned by New School director, Alvin Johnson
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Thomas Hart Benton, America Today, 1930-1 (now: The Metropolitan Museum of Art)
Egg tempera with oil glazing on a gesso ground on linen mounted to wood panels with a honeycomb interior
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Benton, “Instruments of Power,” America Today, 1930-1
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Thomas Hart Benton, “Steel,” America Today, 1930–31
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On his return to New York in the early 1920s, Benton declared himself an "enemy of modernism"; he began the naturalistic and representational work today known as Regionalism, or American Scene painting
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Thomas Hart Benton, “Changing West,” America Today, 1930–31
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Thomas Hart Benton, “City Activities with Subway,” America Today, 1930–31
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Los Tres Grandes: Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros
Orozco Rooms, New School for Social Research, 1931 Five major works : Science, Labor, and Art introduces the cycle (hallway); Homecoming of the Worker of the New Day; Struggle in the Orient; Struggle in the Occident; and Table of Universal Brotherhood (Orozco Room) (fresco)
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Orozco, Allegory of Science, Labor, and Art, 1930-1 (New School)
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Orozco, Struggle in the Occident: Carrillo Puerto and Lenin and the Bolshevik Revolution, 1930-1 (New School)
The socialist revolution in Mexico personified by the figure of the slain Governor of Yucatán, Felipe Carrillo Puerto, and the Marxist revolution in Russia led by Lenin (and Stalin at right)
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Orozco, Table of Universal Brotherhood, 1931 (New School)
Figures: two Asians, an African, a Sikh, a Tartar, a Mexican-Indian, an African-American, an American art critic, a French philosopher, a Zionist and a Dutch poet
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Orozco, Table of Universal Brotherhood, 1931 (New School)
In the 1950's, at the height of the McCarthy era, the New School administration elected to cover the portion of the panel depicting Lenin and Stalin with a yellow curtain. After vigorous student and faculty protests, the administration restored the murals to their original state.
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Aaron Douglas
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Aaron Douglas, Aspects of Negro Life, 1934 (The New York Public Library, Schomburg Center for Research in Black Culture)
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Aaron Douglas, Aspects of Negro Life: The Negro in An African Setting, 1934
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Douglas, Aspects of Negro Life Series: An Idyll of the Deep South, 1934
In An Idyll of the Deep South, Douglas subverts the myth of the "happy southern plantation Negro" by flanking the central theme of the painting-cheerful and contented African Americans singing, dancing, and playing music-with the images of black southern reality, the aftermath of a brutal lynching and black workers toiling in the fields. This reality of racism and economic hardship is underscored through Douglas's incorporation of a star and its emanating ray of light in the left-hand corner of the composition. Although this star has generally been perceived as a representation of the North Star, in April of 1971, during a conversation with David Driskell, Douglas revealed that in fact the star was his version of the red star of Communism. Douglas added that he had included this star in An Idyll of the Deep South to illustrate the hope held by some black Harlem intellectuals that true equality might be attained through the alternative policies of communism and socialism
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Douglas, Aspects of Negro Life: From Slavery Through Reconstruction , 1934
The far right section is comprised of silhouettes symbolizing the doubt and uncertainty of African American slaves. The trumpet-playing silhouette depicts the transformation of doubt into the exultation felt after the reading of the Emancipation Proclamation of 1863. In this section, Douglas encircled a piece of paper, which represents the Proclamation and dramatically emphasizes its importance, as it is this piece of paper that freed the slaves. The second section embodies the strength of the Black leaders of the time. The figure standing in the middle is holding a document and pointing to the Capitol off in the distance . . . the leader, is undoubtedly urging the free Blacks to cast their ballots rather than to continue picking cotton as slaves. Similar to the first section, Douglas highlights the ballot with circles to display its significance in upholding the rights of African Americans and the importance of voting itself. The third section, located on the left of the panel, characterizes the withdrawal of the Union soldiers from the South and the rise of white supremacist groups In the background, Douglas uses dull colors to depict the silhouettes of departing Union soldiers. The small size of the soldiers compared to the larger white-hooded figures on horseback signifies the emergence of white supremacist groups, most notably the Ku Klux Klan.
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Song of the Towers celebrates the fluorescence of jazz and the increasing urbanism of African Americans during the first third of the twentieth century. In the composition, the figure of a saxophonist stands atop a great cog, recalling the machinery of the industrialized North, while playing his horn with one hand. The shoulder pads of his suit indicate his contemporary clothing while the silhouette of the Statue of Liberty can be made out in the far background, between the high rise buildings that flank the musician, firmly placing him in New York City.
Douglas, Aspects of Negro Life: Song of the Towers, 1934
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Lucienne Bloch, Diego Rivera, and Frida Kahlo
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Lucienne Bloch, The Evolution of Music, 1938 (George Washington High School, NYC)
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Lucienne Bloch, The Evolution of Music,1938 (George Washington High School, NYC)
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Lucienne Bloch, The Evolution of Music, 1938 (George Washington High School, NYC)
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Lucienne Bloch, The Evolution of Music, 1938 (George Washington High School, NYC)
Lucienne Bloch, The Evolution of Music, 1938 (George Washington High School, NYC)
