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Chapter24Lecturept.2.pptx

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Fantasy and Surrealism : Surrealism was founded by poet Andre Breton in 1924; it started as a literary movement as Breton writing the bulk of the theory in manifestoes Based the movement on the psychoanalytical theories of Sigmund Freud, especially those on dreams and sexuality Believed that Surrealism was an escape from bourgeois life to a more real state that combined reality and dreams Thought art should come straight from the subconscious mind: called automatism ; also liked art created by chance and liked to play games: one in particular called the “Exquisite Corpse”: a group of people either writing a poem or drawing a picture, but each person can’t see what the other person wrote or draw resulting in unusual combination of images or words There is no unifying style within Surrealism; artists worked in their own ways as each person’s subconscious was different from another’s Giorgio de Chirico was not a Surrealist, but part of the Italian Metaphysical School who had an influence on the Surrealists. Painters like de Chirico retained the sense of Renaissance space, but used various juxtapositions to produce surprise and shock, fear and strangeness. This search for new, unexplored content would have a profound impact on Surrealism’s search of the irrational and the intuitive. De Chirico was influenced by Arnold Böcklin ( Island of the Dead ) and by Nietzsche’s concept that art expresses deep-seated motivations within the human psyche. Spiritual ideals and psychoanalysis of dreams would lead de Chirico into the style for which he is best known (he would later reject this style). The use of deep perspective gives this work a sense of loneliness and a nightmarish quality of a dream that won’t end. It has an ominous feeling about it.

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This is Dada assemblage combined with painting. Dana segued into Surrealism quite easily. Max Ernst participated in both movements. This work shows two girls who are frightened by a tiny bird. It has has a dream-like quality to it and you can see the influence of that deep perspective of De Chirico. As was often the case for Ernst, the title came before the work, but not an attempt to illustrate the title.

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By far the best known Surrealist, Dalí painted his dreams in perfect perspective. There is a very real quality to his images, yet we can tell that they are dreams because do we ever see melted watches in real life? This work is only 9 by 13 inches, and Dalí referred to his work as “hand-colored photographs,” but, again, melting clocks and soft self-portraits are not part of reality. The landscape of this work resembles his childhood home of Cadaqués, Spain. Dalí said this idea came to him after meditating on a plate of camembert cheese.

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After the major Surrealist exhibition in Paris in 1938, Breton expelled Dalí from the Surrealist group as he felt that Dali was too egotistical and Dalí’s politics didn’t match up with the rest of the group’s. This kind of work signals the mature style that Dalí settles into. It is contains double images.

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Magritte was loosely associated with the Surrealist group. He was Belgian painter who always dressed in bourgeois attire: bowler hat and suit. His works were also done in a naturalistic way, but he exposes contradictions of images and words. This painting says, “This is not a pipe.” What is it? This is a gem at LACMA!

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Magritte also has a wicked sense of humor. This is meant to be the 1949 version of a woman Jacques-Louis David painted in 1800 (see next slide). Funny, isn’t it?!

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The Neo-Classical portrait painted by David in 1800.

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One of the more famous works by Magritte. The apple is a symbol for Adam. This work illustrates we are all sons of Adam. It also demonstrates the “everyman” type Magritte was enamored by.

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An artist who worked with Marcel Duchamp in America, Man Ray started out making paintings inspired by the Dada machine aesthetic and constructions from found objects. Man Ray was disappointed that Dada did not inspire a revolution in art in New York, so he moved to Paris in 1921. By attaching tacks, the iron takes on a menacing and unfamiliar role. It was made for French composer, hence its title

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Oppenheim was a female artist who was introduced to the Surrealist group through Alberto Giacometti. Much like the previous slide, this is about bringing together of opposites. The story goes that she was having a conversation with Picasso and he stated, “Everything can be covered in fur!” Not what you expect in a teacup, saucer and spoon - just think about drinking from it! It’s read as a challenge to traditional domesticity.

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Miro was another Surrelist artist who used biomorphic shapes in his work. This one depicts a party in a room, but is full of fantastical creatures. Unlike Dalí and Magritte, there is no autobiographical symbolism.

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De Stijl (The Style) was developed to be a scientifically based, universal language of the senses that would transcend the political divisions in war-torn Europe. Called “the Style” for artists working in Holland during and after WWI. Theo van Doesburg and Piet Mondrian were the key figures in this group. It led to the creation of the journal also called De Stijl, devoted to the art and theory of the group published from 1917-1928. De Stijl professes clarity, certainty and order by using the straight line, rectangle and cube and by limiting the color palette to primary colors and black and white. Mondrian trained in Amsterdam as a landscape painter until 1904. He discovered Symbolism and for a brief time painted in that manner. By 1908, he discovered the modernist tendencies of the Fauves and Neo-Impressionists as well as the Cubists. His work became more linear and geometric in the years following 1912.

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This is the most complete statement of De Stijl architecture. It was a commission from Mrs. Truus Schröder-Schräder. She collaborated with Rietveld in the design and lived in the house for sixty years. She initiated the Rietveld Schröder House Foundation which renovated the structure between 1974 and 1987. Based on an open plan, there are interlocking planes of rectangular slabs joined by unadorned piping – like a Constructivist sculpture. There is also lots of light, but protection from the sun by cantilevered roofs.

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Brancusi was one of the most influential sculptors of the early 20th century. He was born in Romania, apprenticed to a cabinet maker, went to Germany and Switzerland, and arrived in Paris in 1904. Brancusi studied at the École des Beaux-Arts, assisted Rodin, but didn’t stay long. His sculpture is universal, yet has a isolated feeling to it. He conceived of this as a solution of how to convey a bird in flight; more about the way a bird flies that what a bird looks like. He also made his own bases for his sculpture that he believed were integral parts of his sculpture.

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Hepworth and Henry Moore (next slide) had a close professional relationship and his influence can be seen in her early work. She had an admiration for Egyptian, Cycladic and Archaic Greek art. Hepworth was a leader in the English abstract group, Unit One, and the group was invited to join the Paris Abstraction-Création group. Her contact with Jean Arp and Brancusi would have a profound impact on her work as well.

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Unlike any of the artist we have discussed, Moore did not work in a Constructivist manner. He is more of a traditionalist in that he carved and modeled work out of stone, plaster and wood. Moore’s work is always grounded in nature, more specifically, in the human form. He studied at the Royal College of Art in London from 1921-25 and was influenced by Classical, pre-Classical, African and Pre-Columbian art. He began sculpting the recurrent Reclining Figure in 1929. These works were inspired by a chacmool , a pre-Columbian stone sculpture of a reclining warrior holding an offering dish. Moore’s theory on the truth of materials is one that stone should look like stone, or in this case, wood should look like wood, not flesh. It is six feet in length and more abstracted than some of his figures with the incorporation of void space.

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Influenced by Mondrian in 1930, Calder an American son and grandson of sculptors. He studied engineering and went on to study painting at the New York Art Student’s League. His early works are of circus and sports subjects. By 1926, Calder was making sculptures out of wire and wood. In Paris, he garnered the attention of avant-garde artists (especially the Surrealists) with his Circus, an activated environment made up of tiny animals and performers that Calder made from wire and found materials. He introduced hand cranks and motors to make his sculpture move, then his sculptures were calibrated to move by air currents. He is literally the person who invented the mobile, much like what you find above a baby’s crib today.

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Stieglitz lived in Berlin before coming to America and believed that photography was a fine art. He promoted Pictorialism, an aesthetic movement in which photographers did not like or use the sharp focus of documentary photography. Stieglitz was a forerunner of straight photography (basically meaning he did not resort to the darkroom to alter his photographs). He established the Photo-Secession group in 1902 to further his goals and found this work to be a “study in mathematical lines in a patter of light and shade” rather than merely a documentary photograph. One of the most important contributions Stieglitz makes is by supporting other early modern American artists in his influential 291 Gallery. He was the first to promote modern art in America. His journal, Camera Work, was dedicated to the cause of modernism and his gallery became the central meeting place for the New York City modernists.

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This is one of the ways that Americans were introduced to avant-garde art. The International Exhibition of Modern Art was organized to expose the public to the exciting new movements in modern art. It opened on February 17th, 1913 with 1,300 works shown. Of the 300 artists shown, 100 were Europeans and many of the artists we are looking at in this section of the chapter exhibited works in this show. 70,000 people saw the show in New York.

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Before Duchamp became the father of Dada art, he was a painter. This work was show in the Armory Show and one critic lamented that it looked like a shingle factory had exploded. We can clearly see the impact that Cubism, Futurism, and motion studies had on Duchamp in this piece.

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Hartley was born in Maine, then moved to Cleveland where he studied art. He moved to New York City, then to Europe in 1912. He was most influenced by the German Expressionists. This particular piece captures the militarism and nationalism that seized Germany in the years before WWI. Hartley moved back to New York in 1916.

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A generation younger than some of the other early American modernists, Davis was born in Philadelphia. The Armory Show impacted his work as it acquainted him with van Gogh, Gauguin and Matisse. He experimented with abstraction and this particular work is reminiscent of synthetic Cubism in its collage-like quality.

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Georgia O’Keeffe was an artist and arts educator who was introduced to Stieglitz through correspondence. He loved her work, and eventually loved her. Most people know O’Keeffe for her closeup paintings of flowers, but she also painted works of cityscapes like this, which positions her with the Precisionist movement of that decade. We can see the geometric and angular way she works with a subject like New York at night.

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Edward Weston was part of the San Francisco photographers group known as f64 (a small lens opening that gives a sharply focused, finely detailed image along with a greater depth of field) along with Ansel Adams and Imogen Cunningham. Their group was the most influential photography society in the country in the 1930s. Weston also had a photography studio in Glendale (!) in the 1920s. Weston liked photographing his subject matter from a close angle, often turning the subject into something very abstract. In this case we are looking at a woman’s torso, but the way he positions and photographs her body makes it seem more like landscape or an abstract object.

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Born and raised in Iowa, Wood went to school at the School of the Chicago Art Institute. He also went to Europe and was exposed to modernism, but it didn’t affect his art in the same way it had other early American modernists. Wood had socialist views that didn’t sit well with some people, but others really liked the fact that his art didn’t have any of the European abstraction present – they felt that it was purely American. This painting features the artist’s sister and dentist as the archetypal image of middle America where a strong work ethic and sense of religion played large roles in people’s lives. It’s probably the most iconic work of 20th century American art.

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Hopper studied at the New York School of Art and was fascinated by the urban scene. He supported himself by doing commercial art. Hopper’s art is characterized by isolation and loneliness of the modern condition in that his works are eerily silent and vacant even when there are people in them, like this one. Look at the people in the restaurant. They remind me of the people in Van Gogh’s Night Café.

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Lawrence was an African-American painter who studied the life of black people in America as his subject matter. He took classes at the Harlem Art Workshop and is best known for his series done on Frederick Douglass and Harriet Tubman. Lawrence was familiar with Cubism and expressionist techniques, but forged his own brand of abstraction in images of expressionist power. He received a Rosenwald Foundation Fellowship which allowed him to paint this series, The Migration of the Negro North . Here he uses basic shapes and flatted color and space to illustrate segregation of blacks and whites. He was also influenced by the artists Ben Shahn, Diego Rivera, and José Clemente Orozco.

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Benton was also a Regionalist, but best known for his murals. He was the grandson of a U.S. Senator from Missouri. Benton went to school in Chicago, but also traveled to Paris and was influenced by Cubism. However, the biggest influence on his work were the elongated figures of the late works of Michelangelo, El Greco, and Tintoretto. He settled in New York, but was most interested in painting scenes of Midwestern history, legend and daily life in a most monumental scale. Mural painting, like this, was sponsored by Roosevelt’s Works Progress Administration and the Federal Arts Project that sought to have artists depict American themes of the time or from history in murals for government buildings – there were hundreds of commissions for these works. This particular work showcases this history of Missouri, including the fictional take of Huckleberry Finn and Tom Sawyer (above the door).

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Orozco received his training in Mexico City and was strongly influenced by Mexican Indian traditions. He had many important commissions in the U.S. and in California. The works in New Hampshire’s Dartmouth College were the most important commissions in Orozco’s career in the U.S. He created a panorama of the history of the Americas, beginning with the story of Quetzalcoatl, continuing with the coming of the Spaniards, the Catholic Church, and concluding with the self-destruction of the machine age. What do you think his views are of people of European descent in comparison to those who are native Mexicans?

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Rivera studied and lived in Europe between 1909 and 1921 and was associated with Cubism. When he returned to Mexico, he received important commissions for monumental frescoes from the Mexican government, especially at the National Palace. He created a national Mexican style reflecting both the history of Mexico and the Socialist spirit of the Mexican revolution. Rivera’s work has a folkloric character to it which made him a true hero of Mexican culture. He created a series of fresco murals for the Detroit Institute of art depicting industrial scenes, automobile manufacture, medical research and transportation, industries that were flourishing at the time in Detroit. Beyond this particular mural, he also completed work in New York (since destroyed) and in San Francisco. Frida Kahlo, his wife, accompanied him on those trips.

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Frida Kahlo suffered greatly in her life after sustaining injuries in a bus accident when she was 18. The accident shattered her pelvis rendering her unable to have children. She lived with chronic pain her entire life until she died at the age of 47. Because she spent a lot of time recuperating, painting was a respite for her. Despite the near constant pain she lived in, she was able to live a full life. Most of her works depict her as the subject. This painting was done after she had received divorce papers from Diego Rivera. In this work the two sides of herself mourn the loss of Rivera – two hearts joined bleeding. One wears a Tehuana blouse and skirt and holds a childhood portrait of Rivera symbolizing the memory of her ex-husband. The other Frida in European dress (her father was German and her mother Mexican) tries to stop the bleeding. Usually identified as a Surrealist by others, she defiantly stated that she was not and that she painted her own reality.

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The Farm Security Administration (FSA) was established in 1935 to aid farmers who were displaced by the Depression to get back to their homesteads on their farms. Photographers were hired to showcase the agency’s work and rural life. A FSA documentary style was adopted and this way of dramatizing the subject was to make the viewer of the images identify with the people in them, thus garnering support for Roosevelt’s social programs. This is one of the most famous photographers of the FSA and this is one of the most famous images, ever. Lange was documenting the conditions of migrant farm camps when she came upon a pea-pickers camp: the Dust Bowl in the Midwest and prairie states like Kansas and Oklahoma drove many farmers away from their land in search of work. Many ended up in the San Joaquin Valley (CA’s central valley) Lange initially drove by the camp, then made a U-turn 20 miles down the road and captured this image. This woman had four children and they were subsisting on birds they could shoot down and frozen peas from the fields they were working. We can see the worry and desperation in the mother’s eyes and the children look away from the camera in shame. Photographs like this did actually make a difference in many people’s lives in that it helped displaced farmers either settle where they ended up or gave them the ability to set up a farm somewhere else.

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‹#› GIORGIO DE CHIRICO, Melancholy and Mystery of a Street, 1914. Oil on canvas, 2’ 10 1/4” x 2’ 4 1/2”. Private collection.

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Automatism : In painting, the process of yielding oneself to instinctive motions of the hands after establishing a set of conditions (such as size of paper or medium) within which a work is to be created.

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‹#› Figure 24-53 MAX ERNST, Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 2’ 3 1/2” high, 1’ 10 1/2” wide, 4 1/2” deep. Museum of Modern Art, New York.

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Figure 24-55 SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”. Museum of Modern Art, New York.

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SALVADOR DALÍ, Slave Market with Disappearing Bust of Voltaire, 1940

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Figure 24-56 RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”. Los Angeles County Museum of Art, Los Angeles.

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RENÉ MAGRITTE, Madame Récamier, 1949

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JACQUES-LOUIS DAVID, Madame Récamier, 1800

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‹#› RENÉ MAGRITTE, Son of Man, 1964

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‹#› Figure 24-37 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” high, 3 5/8” wide, 4 1/2” deep. Museum of Modern Art, New York.

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Figure 24-57 MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” in diameter; saucer, 9 3/8” in diameter; spoon, 8”. Museum of Modern Art, New York.

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JOAN MIRO, Carnival of the Harlequin, 1924-25

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‹#› Figure 24-61 PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”. Kunsthaus, Zürich.

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Figure 24-66 GERRIT THOMAS RIETVELD, Schröder House, Utrecht, the Netherlands, 1924.

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Figure 24-62 CONSTANTIN BRANCUSI, Bird in Space, 1924. Bronze, 4’ 2 5/16” high. Philadelphia Museum of Art, Philadelphia.

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Figure 24-63 BARBARA HEPWORTH, Oval Sculpture (No. 2), 1943. Plaster cast, 11 1/4” x 16 1/4” x 10”. Tate Gallery, London.

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Figure 24-64 HENRY MOORE, Reclining Figure, 1939. Elm wood, 3’ 1” x 6’ 7” x 2’ 6”. Detroit Institute of Arts, Detroit.

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Figure 24-79 ALEXANDER CALDER, Lobster Trap and Fish Tail, 1939. Painted aluminum and steel wire, 8’ 6” x 9 ‘ 6”. Museum of Modern Art, New York.

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‹#› Figure 24-43 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth.

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Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Courtesy of the Museum of Modern Art, New York.

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Figure 24-35 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia.

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Figure 24-38 MARSDEN HARTLEY, Portrait of a German Officer, 1914. Oil on canvas, 5' 8 1/4” x 3' 5 3/8”. The Metropolitan Museum of Art, New York.

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Figure 24-39 STUART DAVIS, Lucky Strike, 1921. Oil on canvas, 2’ 9 1/4” x 1’ 6”. Museum of Modern Art, New York.

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Figure 24-42 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln, Nebraska.

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Figure 24-44A EDWARD WESTON, Nude, 1925. Platinum print. Collection, Center for Creative Photography, University of Arizona, Tucson.

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‹#› Figure 24-72 GRANT WOOD, American Gothic, 1930. Oil on beaverboard, 2’ 5 7/8” x 2’ 7/8”. Art Institute of Chicago, Chicago.

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Regionalism : A 20th-century American art movement that portrayed American rural life in a clearly readable, realist style.

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Figure 24-70 EDWARD HOPPER, Nighthawks, 1942. Oil on canvas, 2’ 6” x 4’ 8 11/16”. The Art Institute of Chicago, Chicago.

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Figure 24-71 JACOB LAWRENCE, No. 49 from The Migration of the Negro, 1940–1941. Tempera on masonite, 1’ 6” x 1’. The Phillips Collection, Washington.

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Figure 24-73 THOMAS HART BENTON, Pioneer Days and Early Settlers, State Capitol, Jefferson City, 1936. Mural.

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Figure 24-74 JOSÉ CLEMENTE OROZCO, Epic of American Civilization: Hispano-America (panel 16), Baker Memorial Library, Dartmouth College, Hanover, ca. 1932–1934. Fresco.

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DIEGO RIVERA, Detroit Industry, 1932-33

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‹#› Figure 24-76 FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas, 5’ 7” x 5’ 7”. Collection of the Museo de Arte Moderno, Mexico City.

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‹#› Figure 24-77 DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1929. Gelatin silver print. Oakland Museum of California, Oakland.

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