Hodler, Night, 1990 

1.Comparable to Fuseli's Nightmare 2.Succubus is the woman version of the Incubus (Drapery doesn't allow viewer to see what it is) 

3.Self Portrait: The Victim 

4. Many men go to sleep, but don't wake up in th morning, this is about death 

Beardisley: Salome with the Head of John the Baptist, 1893 

1. Sinister image of salome looking into John the Baptist's dead eyes. 

2. Line reads: I kiss your mouth john 

Femme Fetal concempt of a fatal relationshipw where a woman brought a man to his knees. 

3. Linear treatment with Curviturous Sweeping Lines. 

Boccioni: States of Mind, the Farewells 

1911 , Futurism  

1. People saying goodbye + embracing 

2. Meant to be responding to passage of time as they say farwell to one another. 

3. References to steam + smoke used in train station. 

4. Suggestion that sound may be omitted with radio towers presence. 

5. Diagonal passage is typical boccioni 

6. Deals with those who go, those who stay, and farewells. 

Boccioni: City Rises, 1910, Futurism 

1. Shows interst in vigorous movement 

2. City rising + new structures being built suggest or nod at the future. 

Boccioni, Development of a Bottle in Space

1912, Futurism

1. Appreciating bronze for its beauty -> Not painting it like Picasso  

Boccioni, Unique Forms of Continuity in Space, 1913, Futurism  

1. You see a muscualr figure gearing forwards 

2. Cast Bronze male 

Bockin, Island of the Dead, Art Noveau, 1880 

1. We see a small boat being rode on the water, not sure who the draped figure is though. 

Bragaglia, The Cellist, 1913, Futurism 

1. Repitition of bow strumming  

2. Example of Photo Dynamism 

Bragaglia, Greetings, 1911, Futruism  

1. Example of Photo Dynamism 

2. Sense of man leaning forward to greet you 

Brancusi, Beginning of the World, 1920, Modernist Sculpture 

1. Metal + Marble combined medium 

2. Pedistal is minimum sculpture 

3. Made of simple rust stone, metal disk, and marble. 

Brancusi, Bird in Space, 1923, Modernist Sculpture  

1. Most famous work 

2. Two types of stone, marble, and wood 

Brancusi, Endless Column, 1937, Modernist Sculpture 

1. Not literally endless, but gives off the idea due to same repeat pattern (Rhomboid Shape) 

2. Minimum/Minimalistic Structure 

Brancusi, King of Kings, 1930, Modernist Sculpture

1. Static, envokes chess piece 

2. Block-like components seperated by a form of twist. 

3. Appears as if figure is turning to look 

Brancusi, New Born, 1915, Modernist Sculpture  

1. Notion of eyebrow flowing to nose, reductive 

2. Noise expressed 

3. Extremely reductive 

Brancusi, The Kiss, 1916, Modernist Sculpture  

1. Two lovers embracing 

2. Profile View 

3. Boy has short hair, woman has long hair (How sexes were depicted then

Brancusi, Sleeping Muse, 1910, Modernist Sculpture  

1. Style free, not afraid of movement "Roumanian" 

2. Cast bronze, artist favorite medium 

3. Gently interpreted closed eyelids 

4. Bronze is textured 

Brancusi, Torso of a Young Man, 1917, Modernist Sculpture 

1. Severed/Fragmented body with machine aesthetic -> looks like it was produced in production. 

2. Catches senses of maleness due to pose

Braque, Fruit, Dish, and Glass, 1912, 

Rococo Cubism 

1. Analytic approach with plate from above 2. References from vessels from above

Braque, Houses L'Estaque, 1908, Rococo Cubism 

1. Cream palettes (analytical cubist colors) 

Braque, Portuguese (The Emigrant),1911, Rococo Cubism  

1. Ambiguity of space 

2. Analytic approach 

3. Male shadow is shown in background 

4. You see stenciling (new to art, for it was associated with commercial art). 

5. Reference/Suggestion to a warf 

Braque, Violin and Palette, 1909, Rococo Cubism 

1. Violin hovers in a vertical relation. 

2. Palette is hanging by a nail that causes shadow. 

3. R.C. = stippling + colorful 

Degas, Little Dancer 14 Years Old 

1880, Impressionist Sculpture 

1. Shows an artist working with mixed media: bronze, ribbon, and netting 

Delaunay, Blanket, 1911, Orphic Cubism 

1. Cloth stitched together (quilted) 

2. Variations on shapes 

3. Idea of kinetics 

Delaunay, Eiffel Tower in Trees, 1910, Orphic Cubism  

1. Analytic type cubism that allows you to see the tower from every perspective. 

2. No humanity shown (people) 

3. we see a small church in background 

4. Statment of modernity vs. mid evil 

5. Cloud forms filling from below. 

6. Top of tower isn't visable, refers to the idea of a structure being too high that a portrait can't capture it. 

Delaunay, Homage to Bleriot, 1914, Orphic Cubism 

1. Bleriot was a famous aviator, and his plane is refered as well as the eiffel tower (connection between present + future).

2. Blades + wheels of aircraft on ground is shown.

3. Some references to humanity, color wheel, and rotary movements.

4. Reference of ancient egypt-> Horus in sky (Egyptian Falcon).

5. Airplane is surroned in orange, connection of aircraft as same level as ancient egyptian creature. 

Delaunay, Simultaneous Contrasts, 1912, Orphic Cubism. 

1. Most famous work. 

2. Appropriate, given the sun and moon are being presented. 

Delaunay, Simultaneous Dress, 1913, Orphic Cubism 

1. Kinetic product 

2. Quilted Dress 

Delaunay, St. Severin, 1909, Orphic Cubism 

1. Looking at mid-evil -> large architecture. 

2. No humanity is present. 

Delaunay, Window in the City #3, 1911, Orphic Cubism 

1. Looking through window through little panels of glass. 

2. Some diagonal movement. 

3. A little bit of modeling in view. 

4. No humanity. 

Derain, London Bridge, 1906, Fauvism 

1. We see an artist leaving his home country.  

2. Fauve pallette 

3. View of city is depicted with crowd of figures 

4. Brilliant sunset 

5. Working class individuals are emphasized with working "barge."

Derain, Turning Road Estaque, 1906, Fauvism  

1. Celebrating working class. 

2. Tree trunk is changing colors. 

Duffy, Street Decked with Flags, Le Havre, 1906, Fauvism 

1. View of small city (Havre). 

2. Theme of Bastille Day 

3. Reminiscent of impressionist art 

4. We are looking at middle class people (apparent due to clothing). 

5. Flat patches of color -> Oppossed to dabs

Edvard Munch, Dance of Life, 1900, Art Nouveau  

1. Women shown in mourning (widows typically wore black all year). 

2. Woman in center has a dress that drapes around man, she's a femme fatal. 

3. Possible allegory of life. 

Edvard Munch, Evening on Karl Johan Street, 1892, Art Nouveau  

1. Skeletal-like faces, packed closely but with no connection to one another. 

2. Unhappy City

Edvard Munch, Puberty, 1895, Art Nouveau 

1. Two major interpretations  

A. Thinking about sex 

B. Experienced first Puberty 

2. Dark shadows represent her thoughts. 

Edvard Munch, The Scream, 1893, Art Nouveau 

1. Curvaceous elements in sky. 

2. Curvy movement that outlines water. 

3. Partial figures in background. 

Edvard Munch, Vampire, 1902, Art Nouveau 

1. Luring Femme Fetal 

2. Imortant work because he printed it all on one block at one time (new thing). 

3. Red is often referenced as temptation or lust. 

Schelie, Death and the Man, 1911, Austrian Expressionist 

1. Idea of doppleganger (alter ego). 

2. Idea of death striking you when you least expect it. 

Emil Nolde, Female Dancer, 1913, German Expressionist

1. Blatant sexuality is depicted: portions of skirt are flared, nips and pubic hair is apparant, and hair is flying loosly. 

Emil Nolde, Egytian Mary, 1912, 

German Expressionism 

1. Paint is applied roughly 

2. Triptych: 3 part panning field arangement, popular in GE art. 

3. Theme is that men are barbaric, this is shown through visable fangs, animal-like hands, and exposed teeth. 

4. Raw emotion 

5. He travels the Pacific, so almost everything he paints is from life.  

Ensor, Entry of Christ into Brussels, 1889, 

Proto Exressionist   

1. Often uses religous concepts + ideas. 

2. Shows himself as Jesus enteringa major city in Germany. 

3. He is expressing his own suffering. 

4. Criticizes bourgois class for nastyness. 

5. Proto expressionist due to palette knives + both sides of brush used. 

6. Response to Grand Jette, felt pursecuted.

Ensor, Portrait of the Artist Surrounded by Masks, 1889, Art Nouveau  

1. Shows himself surrounded by masks (metaphorically bourgouis class). 

2. He isn't wearing a mask, because he isn't a hypocrit. 

Franz Marc, Fate of Animals, 1913,

German Expressionist  

1. Deer with white fur on his belly is shown throwing his head u as if submitting in fear. 

2. A chopped down tree, blood, and foxes are apparant. 

3. Angularity is apparant. 

4. Original title "all being is flamming suffering."  

5. Artist said his painting was a premonition of war. 

Franz Marc, Fighting Form, 1914, 

German Expressionist 

1. Gives it a name that persuades abstraction. 

2. Perhaps emotional struggle. 

Franz Marc, Stables, 1913,

German Expressionist  

1. Use of primary colors for most art. 

2. Both curviture and angularity is apparant. 

Franz Marc, Large Blue Horses, 1911 

German Expressionist 

1. Theory on symbolism of color: blue = masculine, robust, siritual. yellow= feminine, gentle, serene, sensual. White= brutal and represents matter. 

2. Uses primary color

Gaudi, Parc Guell, 1900-1914 

Art Nouveau 

1. Worked with a lot of recycled + broken tiles 

2. Serpentine effect contours 

3. Built on top of a market. 

Giacomo Balla, Mercury Passing in Front of the Sun, 1913, Futurism 

1. Brilliant palette 

2. Edge of various forms is dark and fades out 

Giacomo Balla, Dynamism of a Dog 

1912, Futurism 

1. Demonstrates movement by showing a dog scurrying + wagging its tail. 

2. Owner is trying to keep up. 

3. Chronohotography

Giacomo Balla, Street Light, 1909, Futurism 

1. Shows streetlight itself more luminous then the moon pushed to the side. 

2. Light is shown radiating out in chevron shapes. 

3. Suggestion of art nouveau: frame within a frame idea. 

Guimard, Metro Station in Paris, 1901 

Art Nouveau 

1. Plant-like cast iron enterance 

2. Curvaceous movement

Heckel, Standing Child, 1910 

German Expressionist 

1. Touches on adolescent 

2. Artist looks at subject tenderly 

3. Reductive background

Hodler, The Dream, 1903 

Art Nouveau 

1. Woman is femme fetal 

2. Floral elements 

Hoffman, Palais Stocklet, 1905 

Art Nouveau 

1. Linearity approach  

2. Edges are accented with metal. 

3. Clean, blank surfaces. 

4. Modern-like 

5. Cast Iron fence

Horta, Tassel House, 1892 

Art Nouveau 

1. Cast Iron elements, plant-like 

2. Wall is decorated with 2D curved lines

Kandinsky, Blue Mountain, 1908-1909 

German Expressionism 

1. He sees the dematerialization of the objects in Monets work (non objective) 

2. Smallish painting (in scale). 

3. Use of primary colors 

4. Framing with trees, reminiscent of Cezanne. 

5. Stippling technique is used in trees. 

Kandinsky, Sketch for Composition no. 2 

1909-1910 German Exressionism 

1. You see outlines that refer to Van Gogh. 

2. References to onion dome structures in his hometown of Russia. 

3. Stormy weather on left, sunny weather on right.  

4. Topsy, turvy landscape. 

5. Reclining figures on right, comparable to "joie de vivre."

Kandinsky, Sketch for Composition no. 7 

1913 German Expressionism 

1. Captures movement 

2. Can be non-objective art or portrayal of life. 

Kathe Kollwitz, Death Seizing a Woman 1934 German Expressionism  

1. Simple, but powerfull 

2. Death is in form of kwazi skelleton. 

3. Poor victim is horrified and trying to protect her child by covering his/her face. 

4. Composition is used to suggest that death is squeezing out life from her. 

Kathe Kollwitz, Lamentation, 1940 

Modernist Sculpture 

1. Shows a woman emplotting with grief. 

2. Hands are holding her emotions. 

Klimt, Death and Life, 1908-1911 

Art Nouveau 

1. Mass of humans with fresh, lively colors.  

2. Grandmother, New born, young woman, and man with his lover are all shown sleeping-> can't see what's comming. 

3. Death is personified, and close to life which is personified in all the people shown. 

4. Theme: Death gives no warning. 

Klimt, The Kiss, 1907-1908 

Art Nouveau 

1. Flattness hides the drape in the clothing. 

2. Highly stylized, with exotic embrace. 

3. Decorated in palais. 

4. Combination of ovals and squares.   

5. The man is lost in the kiss, and the woman is turning her head away (aloof from it)

Klimt, Tree of Life, 1911, Art Nouveau 

1. Images/murals in Hoffman's Palais Stocklet. 

2. Eyelids + falcon aspects appear Egyptian influenced. 

3. Delicate face with geometric drapery on woman. 

4. Embracing couple is shown. 

Klinger, Abduction of a Glove, 1881-1898 

Art Nouveau 

1. Proto Surealism 

3. You see a pre-historic creature that abducted a helpless glove. 

3. You see beautiful flowers underneath the grotesque figure -> suggestive. 

Kokoschka, Murderer, Hope of Women

1909, Austrian Expressionism 

1. Wrote expressionist plays, this was a poster of one of his plays. 

2. Man is shown flayed alive + destorted. 

3. Distortion adds onto angularity. 

4. Femme Fetal is apparant as a theme. 

5. Ghastly relationship between women and man. 

Kupka, Disks of Newton, 1911-1912  

Orphic Cubism  

1. Interested in movement on stationary canvas= chronophotograhy 

2. Sens eof outward movement= dymanism

Larinov, Blue Rayonism, 1912, Rayonism 

1. Could be chunks of ice or shattered glass. . . . even non-objective.  

2. Rayonism -> mirage like 

Larinov, Rayonist Composition, 1912, Rayonism 

1. Rayonism -> mirage like 

2. Can be considered non-objective. 

Leger, Contrast of Forms, 1913 

Orphic Cubism 

1. Orphic Cubism deals with primary colors, and this painting works with them, but uses black to outline shapes. 

2. Non-objective. 

3. A lot of plane shapes (lacking deffinition)

Leger, The City, 1919, Orphic Cubism 

1. Vantage point of bird level. 

2. Looking down on tin-woodman type humanity, who are walking up stairs. 

3. We see lots of structures that imply congested, urban enviroment. 

4. Reference to till roofs and radio towers. 

5. Modeling is used to define pole that is shooting straight up. 

6. Stenciling is present. 

Lipchitz, Reclining Nude with Guitar, 1928 

Rococo Cubism 

1. Classical female nude combined with a guitar. 

2. References to sound at crotch area. 

Lissitzky, Construction 99, 1924 Supremetism  

1. Derivitive of fauvism (change of color as it moves up) 

2. Centrivicle idea of two vanishing points  (two perspectives). 

Lissitzky, Proun Room, 1923, Suprematism 

1. Meant to walk in counter clockwise (enviromental art).  

2. PROUN, project for the affirmation of the new.

Louis Comfort Tiffany, Table Lamp, 1900 

Art Nouveau 

1. Stained glass forming trees. 

2. Rounded base that supports lamp. 

3. No real modeling. 

4. Sense of leaves falling. 

5. Idea of vegetation. 

Ludwig, Market Place with Red Tower, 1915, German Exressionism 

1. Interretation of city: It's emty, no life except for whomever is in trolly car. 

2. About melencholy: emptiness of life.

3. The tower comes at us aggressively from the corner.

4. Focusing on gothic element/building (going back to artistic roots).

5. Angularity was popular in GE art 

Kirchner, Street in Berlin, 1913

German Expressionism

1. Very angular, gothic postures

2. Shift in colors: acid color-like mannerism.

3. Offers "centrifugal" composition: objects in painting are throwing/pulls you off to the the side as opposed to center/middle.  

Louis Sullivan, Carson Pirie Scott

Art Nouveau 

1. Department store facade. 

2. Linear, vegital motif 

2. Cast metal 

Kirschner, Street in Dresden, 1908 

German Expressionism 

1. Powerful colors 

2. Pavement is painted up, which goes against Renaissance perspective. 

3. Deals with city life. 

4. Abandonment of local color-> apparant in faces. 

5. Lingering aspects of art nouveau (curviture). 

Malevich, Black Square, 1915, Rayonism 

1. White field where a square is placed 

2. Idea of perfect square goes back to Da Vinci. 

3. Believes he takes refuge in the square.

Malevich, Red Rectangles, 1915, Suprematism  

1. Is there movement/implyed movement? 

2. White is the real concept of infinity. 

Malevich, Snow in a Village, 1912 

Rayonism 

1. Cubo-futurist work 

2. Breaking down objects in central planes. 

3. Two women carrying buckets down a road. 

4. Skirts are echoed in the buckets. 

Malevich, White Square on White, 1917 

Suprematism 

1. Square appears to be in movement because it isn't placed in the dead center of the canvas. 

Marinetti, Parole in Liberta, 1918-1934 

Futurism 

1. Wonderful idea of typeography gone haywire. 

2. Dynamic manner, expresses movement. 

Matisse, Blue Nude, 1907, Fauvism 

1. One of the few Matisse nudes shown unhappy. 

2. Shown in extreme contra postle. 

3. Thrusting of hip and butt are reminiscent of African sculptures. 

4. Ariadne  pose of arm jutting up. 

Matisse, Harmony in Red, 1907, Fauvism 

1. Concept of open window (could be argued to be a picture frame) 

2. Art Nouveau hints in wallpaper and tablecloth, also space flattening. 

Matisse, Joie De Vivre, 1905, Fauvism 

1. Celebrating life, he is a positive man who sees beauty in man and female nude. 

2. Trees act as a frame. 

3. Reclining nudes are depicted based on hellenistic statue of Ariadne. 

4. Squatting figure is based on Venus. 

5. All is based on Arcadian life,idyllic life 

6. Classical motif of shepherd boy playing to sheep-> refers to arcadian life concept 

7. Outlining also refers to outlining on greek vases -> Arcadian life. 

Matisse, La Serpentine, 1909

 Modernist Sculpture

1. Curve like figures 

2. Described as "boneless articulation"

Matisse, Luxe, Calme, et Volupte 

1904-1905, Fauvism 

1. Use of brilliant color, abandonment of normal color palette. 

2. Paints in dabs of paint (divisionism). 

3. We see a shoreline with nude women. 

4. Diagonal and Vertical 

5. Comparable to Monet's Lunch on the Grass

Matisse, Open Window, 1905, Fauvism 

1. You see a veiw from an apartment into boat harbor. 

2. Trying to capture movement of boats. 

3. Captures interior view of apartment as well as the harbor. 

4. Applies smooth paint. 

Matisse, Red Studio, 1911, Fauvism 

1. Artist runs with flattening space. 

2. Depicts artworks of himself. 

3. Makes distinctions of what is important to him with the use of light and dark scheme of color. 

Matisse, The Dance, 1911, Fauvism 

1. Rigorous interpretation of movement. 

2. Reductive in terms of color and tone.

Matisse, Woman with Green Stripes, 1905 

Fauvism 

1. Desire to abandon normal color combined with African mask studying= face composition inspiration 

2. Fauves often change color of outline as it proceeds. 

Mondrian, Composition in Color A, 1914 

De Stijl 

1. Deeper blues and pinks are closer to primary colors. 

2. Plays with spacial relationships. 

3. Spotted affect 

4. Against illusionist art: symmetry is supposed to be avoided, composition elements must be straight lines/ rectangular areas, use of primary colors must be the coloration or non colors of black, white, and gray. 

5. Moves from cube to grid.

6. Reductive.

7. Avoids personal touch in this piece.

8. Seeks essential truths via absolute abstraction, not non-objective.  

Mondrian, Compostion in Oval with Color Planes 1, 1914, De Stijl 

1. Arrangement of horizontal and vertical black lines placed in sace in an orderly manner. 

2. No real symmetry -> adds onto dynamic appeal. 

3. Gears toward primary colors 

4. Black lines = armature

Mondrian, Flowering Apple Tree, 1912

De Stijl 

1. Abandons local colors and loves portraying nature, also architecture. 

2. You can see grays in bluish tones + oakard greens. 

Mondrian, Pier in Ocean, 1914, De Stijl 

1. Plus and Minus painting 

2. White blotch might indicate starlight hitting ocean 

Morris, Pimpernel, 1876, Art Nouveau 

1. Floral motif with beautiful stems flattened out appearance as if pressed flowers. 

2. Vegi/Floral motifs are popular in art nouveau. 

Emil Nolde, Prophet, 1912

German Expressionist 

1. Print 

2. Wood cut medium is used vigorously

3. Very dramatic contrasts with lights and  darks. 

Paul Klee, Hammamet with Mosque, 1914 

German Expressionism 

1. Names work after he creates them 

2. Watercolor 

3. Intersecting lines create patches of vegitation 

4. marvelousity of luminoscity. 

Pechstein, Indian and Woman, 1910 

German Expressionist 

1. Male in traditional attire is shown seated, and gawking at a nude woman on the floor. 

2. Offensive to women: He is shown twice (reflection and self), he is seated higher. 

Pechstein, Somalian Dancers, 1910 

German Expressionist 

1. Print 

2. Beautiful combo of yellows and bright reds = African aspects 

3. Geometric shapes may represent music. 

Picabia, Catch as Catch Can, 1913 

Orphic Cubism 

1. May or may not be non-objective 

2. Palette is cubist (Browns + Cremes) 

3. Colors fade out -> analytic cubism 

4. Rippling bodies/motions working against one another. 

Picasso, Absinthe Drinker, 1937, Cubism 

1. Woman exploding with sorrow, literally crying her eyes out. 

2. Synthetic Cubism

Picasso, Demoiselles d'Avignon, 1907 Cubism 

1. Often stated as first cubist work. 

2. Impact of African Masks is present. 

3. Baroque painting influence ->affect of red curtain pulled aside. 

4. Faces contain roundness in eyes and simplicity. 

5. Pose with elbow facing up is referring to michael angelo's statue. 

6. Someone is entering from right side. 

7. Street in Barcelona was called "Avignon" in the red light district. 

Picasso, Green Still Life, 1914

Rococo Cubism 

1. Streakism is shown 

2. Motif carved into wood on frame and table, gives visual punning of articles as a painting. 

3. Picture within picture composition is shown. 

Picasso, Guitar, Sheet Music, and Wine Glass, 1912, Cubism 

1. Both synthetic and analytic cubism is shown. 

2. Guitar is shown distorted. 

3. Painted wood grain is shown on guitar partial "faux bois" (fake wood). 

4. Highly decorated, but challenging space and perspective. 

Picasso, Maquette for Guitar, 1912  

Rococo Cubism 

1. Hole in front plate of guitar is cylinder, playing around with the idea of a void. 

2. Inspired by African Masks 

3. Sculpture. 

Picasso, Still Life with Chair Caning, 1912 

Cubism 

1. First collage 

2. Synthetic Cubism: brighter colors and piecing together parts (collaging) 

3. Knife with wooden handle and pipe are present and rested on chair. 

Rietveld, Schroder House, 1924

De Stijl Architecture 

1. Named after patron. 

2. Lack of symmetry

3. Accents in primary colors on posts 

4. Roof slab ejects out, which blocks sunshine 

5. Overlapping panels. 

Rietveld, Red + Blue Chair, 1917 

De Stijl Architecture 

1. Very Symmetric 

Rodchenko, Hanging Construction, 1920 

Russian Suprematism 

1. Machine tools + plywood are used to give 3D affect. 

2. Meant to be hung from the ceiling. 

3. Tends to be geometric. 

Rodin, Gates of Hell, 1880-1917 

Impressionist/Romantic Sculpture 

1. Inspired by Donte's book Inferno. 

2.  Donte is shown as the figure thinking. 

3. Has impressionist grainy look + texture, but his subject manner is romantic. 

Rodin, Iris, Messenger of the Gods, 1895 

Sculpture 

1. Shows Iris the messenger god without arms and head, it is a partial figure. 

2. Somewhat sexual because it is exposing her body. 

Severini, Spherical Expansion of Light 

1913-1914, Futurism 

1. You see idea of light moving towards darkness. 

2. Connection between knowledge + ignorance. 

3. Stippling technique 

4. Blury edges that go from deep colors to faint colors 

**Tatlin, Monument to the Third International, 1920, Russian Supremetism  

1. Walls become part of the work of art. 

2. Made of wood, iron, + glass 

3. Targeted for worldwide democracy. 

4. Sense of upward movement. 

5. Cuves, Pyramids, Cylinders, and Hemispheres were the four shapes intended for chamber use which all were intended to rotate/revolve slowly. 

Van de Velde, Tropon, 1899, Art Nouveau 

1. Design for a cereal box, commercial art. 

2. No modeling, flattening components. 

3. Tropon was a type of popular cereal. 

Picasso, Family of Saltimbanques, 1905 

Cubism  

1. Rose/Pink period 

2. Saltimbanques were groups of people who would perform some form of entertainment (sometimes families).  

3. Color palette is more upbeat. 

4. Hint of allegory: group of figures are commenting on society, on desolate plain.

5. Sense of emotionally lonely artistic is present.

Vlamink, Picnic in the Country, 1905 

Fauvism 

1. Abandonment of local color, because Vlamink hated museums. 

2. Tree trunk changing color 

3. Splashes paint on wildly "streaking"

Picasso, Accordanist, 1911, Cubism  

1. Merging of figure from/with background. 

2. Analytic Cubism color palette. 

3. Edges fade away. 

4. Suggested plains are tilted. 

5. Reference to African art on background. 

6. Idea of playing instruments is popular in cubist art. 

7. Density where figure is located (heavy mass)

Picasso, Weeping Woman, 1937, Cubism  

1. Woman exploding with sorrow: literally crying her eyes out. 

2. Synthetic Cubism 

Wright, Robie House, 1910, De Stijl 

1. Candalever roof (plunging and overhanging roof). 

2. Pronounced vertical in chimeney mask. 

3. Dislikes symmetry ->into destroying the box. 

4. Gives free flowing space -> easy spacial flow. 

5. likes to hide/disguise front door (it's in the back) 

6. simple granite 

7. Liked to think of his houses as a refuge. 

8. Asymmetry in plans.