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Georges Seurat(1859-1891)
The Forest at Pontaubert. c. 1881-82. Le Tacheron. c. 1882
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The Island of La Grande Jatte. 1884
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Study for A Sunday on La Grande Jatte. 1884.
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Models. 1886-88
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J.M. Olbrich: Secession Building, Vienna, 1898
Vienna Secession
(1897-1939)
In 1897 a group of Artists, such as Otto Wagner and his gifted students, Josef Hoffmann and
Josef Olbrich, with Gustav Klimt, Koloman Moser and others aspired to the renaissance of the
arts and crafts and to bring more abstract and purer forms to the designs of buildings and
furniture, glass and metalwork, following the concept of total work of art and to do so they tried tobring together Symbolists, Naturalists, Modernists, and Stylists.
They gave birth to another form of modernism in the visual arts and they named their own new
movement: Secession (Wiener Secession). As the name indicates, this movement representeda protest, of the younger generation against the traditional art of their forebears, a "separation"
from the past towards the future. The first chairman was Gustav Klimt.
Starting with the first exhibition in November 1898, the
Vienna Secession Building presented works of the most
important artists of the time as:
Gustav Klimt, Koloman Moser, Josef Maria Olbrich, Max
Klinger, Walter Crane, Eugene Grasset, Signac, Charles
Robert Ashbee, Charles Rennie Mackintosh, Degas, Arnold
Bocklin, Giovanni Segantini, Auguste Rodin, Edvard
Munch, van Gogh, Toulouse-Lautrec, Vuillard, Bonnard,
Redon, Gauguin, Otto Wagner
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Gustav Klimt
Idylle (Idylls). 1884.
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11/117The Old Burgtheater. 1888-89. Gouache on paper.
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Hope I. 1903
Pear Tree. 1903
Watersnakes. 1904-1907
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Danae. 1907-1908
The Kiss. 1907-1908.
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Hope II. 1907-1908
Judith, II. (Salome). 1909
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The Virgin. 1913.Apple Tree II. 1916
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Still Life with a Beer Mug, 1921The Railway Crossing, 1919,
Fernand Lger
A personal form of Cubismhis critics called it "Tubism"
for its emphasis on cylindrical formsthat made no use
of the collage technique pioneered by Braque and
Picasso.
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Constructivism was first created in Russia in 1913when the Russian sculptor Vladimir Tatlin, during his
journey to Paris, discovered the works of Braque and
Picasso. When Tatlin was back in Russia, he began
producing sculptured out of assemblages, but he
abandoned any reference to precise subjects or
themes. Those works marked the appearance of
Constructivism. The name Constructivism did notdescribe a specific movement but rather a trend within
the fields of painting, sculpture and especially closely
conjoined artists and their art with machine production,
architecture and the applied arts.
Constructivism art refers to the optimistic, non-
representational relief construction, sculpture, kinetics
and painting. The artists did not believe in abstract
ideas, rather they tried to link art with concrete andtangible ideas. Early modern movements around WWI
were idealistic, seeking a new order in art and
architecture that dealt with social and economic
problems. They wanted to renew the idea that the
apex of artwork does not revolve around "fine art", but
rather emphasized that the most priceless artwork can
often be discovered in the nuances of "practical art"
and through portraying man and mechanization into
one aesthetic program.
Constructivism was an invention of the Russian
avant-garde that found adherents across the continent.
The artists mainly consisted of young Russians trying
to engage the full ideas of modern art on their own
terms. They depicted art that was mostly three
dimensional, and they also often portrayed art that
could be connected to their Proletarian beliefs.
Suprematism considered the first systematic school ofpurely abstract pictorial composition in the modern
movement, based on geometric figures and was the
expression "of the supremacy of pure sensation in creative
art". It is Russian art movement founded (1913) by Kazimir
Malevich in Moscow, parallel to constructivism.
The Suprematist project was above all the brainchild of thepainter and theoretician Malevich. According to him,
Suprematism sought "to liberate art from the ballast of the
representational world." The work of the painter no longer
involved representing and creating chromatic harmonies or
formal compositions, but rather attaining the limits of
painting. It consisted of geometrical shapes flatly painted on
the pure canvas surface. The pictorial space had to be
emptied of all symbolic content and all content signifying
form. It had to be decongested and cleared, so as to show anew reality where thought was of prime importance.
In 1915 Malevich exhibited Black Square on a White
Ground. For this show he also published From Cubism and
Futurism to Suprematism, a tract in which he described a
sequence of avant-garde movements within a historical
perspective. Three years later, Malevich painted White
Square on a White Ground, part of his famous White on
White series. Here, the abstraction of painting attained andfully revealed the abstraction of thought and embodied the
movement's principles. Malevich was given a cold shoulder
by the Stalinist regime, but he carried on his exploratory
work by returning to figurative forms and subjects drawn
from the everyday life.
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Constructivism is a movement which was an artistic andarchitectural movement in Russia from 1919 onward which
rejected the idea of "art for art's sake" in favour of art as a
practice directed towards social purposes. Constructivism as
an active force lasted until around 1934
Photograph of the first Constructivist Exhibition, 1921
Alexander Rodchenko
Alexander Rodchenko. 'Books'. The Board for the
Leningrad branch of the State publishing house
Gosizdat. 1924.
Girl with a Leica byAlexander Rodchenko,
1934. Artist print
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P bl Pi
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Pablo Picasso(1881-1973)
First Communion. 1895/96. Oil on canvas
Portrait of the Artist's Mother. 1896.Pastel on Paper
Science and Charity. 1897.
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Matador Luis Miguel Dominguin. 1897Leaning Harlequin. 1901
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Portrait of the Art Dealer Pedro Manach. 1901
Le Gourmet. 1901Breakfast of a Blind Man. 1903
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La Vie (Life). 1903L'ascete. 1903
The OldGuitarist.1903
Acrobat and Young Harlequin. 1905
Harlequin Sitting on a Red Couch.
Self-Portrait with a Palette. 1906.
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The Dance of the Veils. 1907Woman Seated. 1908
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Portrait of Ambroise Vollard. 1910Nude Woman. 1910. Oil on canvas.
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Still-Life with Chair Caning. 1911/12
Violin. 1912. Color paper.
Tavern (The Ham). 1912.
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Still-Life. 1918. Oil on canvas
Guitar, Bottle, Bowl with Fruit, and Glass on Table. 1919
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The Seated Harlequin. 1923.
Three Dancers. 1925.
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Nude in an Armchair. 1929
Nude and Still-life. 1931
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Girl on a Pillow. 1936
Marie-Therese Walter. 1937
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Three Musicians. 1921. Oil on canvas
Three Musicians, or Musicians in Masks. 1921
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Guernica. 1937
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Weeping Woman. 1937
Portrait of aYoung Girl.1938
Portrait ofa YoungGirl. 1938
Portrait of a Young Girl. 1938
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The Bull. State I. 1945. Lithography
The Bull. State IX The Bull. State XI.
Wassily Kandinsky
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Wassily Kandinsky(1866-1944)
The Blue Rider.1903. Oil on canvas
Gabriele Mnter
Painting in Kallmnz.1903. Oil on canvas.
Gabriele Mnter. 1905. Oil on canvas.
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The Blue Mountain. 1908/09. Oil oncanvas. 106 x 96.6 cm. The Solomon
R. Guggebheim Museum, New York,
NY, USA
Untitled (First AbstractWatercolor). 1910(1913). Pencil, watercolor
and ink on paper
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Improvisation 12(Rider). 1910. Oil oncanvas.
Improvisation 7. 1910. Oil on canvas.
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Improvisation 19. 1911. Oil on canvas.
Flood Improvisation. 1913. Oil on canvas.
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Composition VI. 1913. Oil on canvas
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Composition VIII. 1923. Oil on canvas
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Several Circles. 1926. Oil on canvas.
In 1911 together with a friend a German painter Franz Marc
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In 1911 together with a friend, a German painter Franz Marc,Kandinsky founded the society "Der Blaue Reiter" (Blue Rider),which also published an illustrated almanac. The aim of thissociety, according to its founders, was "to destroy barriers
between the different forms of art", collect and promote newideas in painting, theater and music. The same year his firsttheoretical work "Concerning the Spiritual in Art" was published.In the book, he postulated an inner relationship between musicand painting.
Kandinsky came to Berlin in 1921 and never returned to Russia. From
1922 till 1933 he taught at the Bauhaus (the college of building and artconstruction in Germany). The years in Bauhaus were full of theoretical
search, experiments both in painting and in the sphere of creating
synthetic art. In Bauhaus Kandinsky befriended his colleague, German
painter and professor, Paul Klee. They both valued each other as people
and painters, and demonstrated respect for each other's artistic
principles.In the 1920-30s Kandinsky's name became world famous. He was
proclaimed the theoretician and leading figure of abstract painting. In
addition to teaching courses, Kandinsky became actively involved in
delivering lectures; his exhibitions took place almost yearly in Europe and
America.
Piet Mondrian
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Piet Mondrian
(1872 - 1944)
Girl Writing. /Schrijvend meisje.c.1892-95. Black chalk on
paper.
Windmill in Sunlight / Molen bijzonlicht. 1908.
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The Red Tree. c.1909.
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The Red Mill./ De rodemolen. Oil oncanvas.
Evolution / Evolutie. 1910/11. Oil on canvas.
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Composition / Compositie. 1916.
Composition in Color A / Compositie inkleur A. 1917
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Lozenge with Grey Lines / Losangiquemet grijze lijnen. 1918. Oil on canvas
Composition Chequerboard, Dark Colors./ Compositie Dambord, donkere Kleuren.1919.
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Composition with Red, Blue and Yellowish-Green / Compositie met rood, blauw engeel-groen. 1920.
Tableau I. 1921. Oil on canvas.
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Composition II with Black Lines. /Compositie nr.2 met swarte lijnen. 1930.
Composition with Black,White, Yellow and Red /Compositie metzwart,wit,geel en rood.1939-42.
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Broadway Boogie-Woogie. 1942/43.Oil on canvas.
New York City II. 1942-44. Oil and paper on canvas.
New York City I. 1942. Oil on canvas.
Fauvism is a movement in French painting that revolutionized the concept of color in modern art.
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Fauvism is a movement in French painting that revolutionized the concept of color in modern art.
Fauves earned their name ("les fauves"-wild beasts) by shocking exhibit visitors on their first
public appearance, in 1905.
At the end of the nineteenth century, neo Impressionist painters were already using pure colors,
but they applied those colors to their canvases in small strokes. The fauves rejected the
impressionist palette of soft, shimmering tones in favor of radical new style, full of violent colorand bold distortions.
These painters never formed a movement in the strict sense of the word, but for years they
would nurse a shared ambition, before each went his separate and more personal way.
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The Bauhaus is one of the first colleges of design. It came into being from the merger
of the Weimar Academy of Arts and the Weimar School of Arts and Crafts. It was
founded by Walter Gropius in 1919 and was closed in 1933 by the Nazis.
The Bauhaus holds a place of its own in the culture and visual art history of 20th
century. This outstanding school affirmed innovative training methods and also createda place of production and a focus of international debate. It brought together a number
of the most outstanding contemporary architects and artists. The Bauhaus stood
almost alone in attempt to achieve reconciliation between the aesthetics of design and
the more commercial demands of industrial mass production.
The teaching program was organized in the form of workshops to produce works that
were both aesthetically pleasing and useful. The creed of this program asserted that
the modernization process could be mastered by means of design. As a result, in 1923
the Bauhaus turned it attention to industry. The first major Bauhaus exhibition whichwas opened in 1923 reflected the revised principle of art and technology a new unity
spanned the full spectrum of Bauhaus work. It was Art and Technology, a New Unity,
which was also the name of the workshop in which the art was created.
The Nazi Party and other fascist political groups had opposed the Bauhaus
throughout the 1920s. They considered it a front for communists, especially because
many Russian artists were involved with it. Gropius was succeeded in turn by Hannes
Meyer and then Ludwig Mies van der Rohe. School was moved first from Weimar to
Dessau, from Dessau again to Berlin, and was closed on the orders of the Nazi regime
in 1933.
The Bauhaus had a major impact on art and architecture trends in western Europe
and the United States in the decades following its demise, as many of the artists
involved fled or were exiled by the Nazi regime.
Henri Matisse
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Henri Matisse
Fruit and Coffee-Pot. 1899
Studio under the Eaves. 1903
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The Window. 1905Madame Matisse,"The Green Line" ( La Raie verte). 1905
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Andre Derain
1905
painted by Matisse
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Interior at Collioure. 1905
Gypsy. 1906. Oil on canvas.
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Bouquet (Vase with Two Handles). 1907
The Bank. 1907.
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Harmony in Red. 1908.
La Danse (first version). 1909.
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La Musique. 1910
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The Dance. 1910. Oil on canvas.
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Les Coloquintes. 1915-16.
Nude's Back. 1918
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Le genou lev. 1922.
Pink Nude. 1935
The Dance. 1932-33
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Polynesia, The Sea. 1946.
Icarus. 1947.
The Circus.
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Blue Nude IV. 1952
Gouache on paper cut-out
Andre Derain
1905
painted by Matisse
A d D i
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Harlequin and Pierrot, c.1924
Andr Derain
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1905
Boats
1905
Boats at Collioure's Harbor
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1906
The Dancer
Charing Cross Bridge, London
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Henri Matisse
1905
painted by Derain
Raoul Dufy (1877-1953)
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The Jetty at Sainte-Adresse
1906
Billboards at Trouville
Futurism
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FuturismFuturism was an international art movement founded in Italy in 1909. It
was (and is) a refreshing contrast to the weepy sentimentalism of
Romanticism. The Futurists loved speed, noise, machines, pollution,
and cities; they embraced the exciting new world that was then upon
them rather than hypocritically enjoying the modern worlds comforts
while loudly denouncing the forces that made them possible. Fearing
and attacking technology has become almost second nature to many
people today; the Futurist manifestos show us an alternative
philosophy.
Manifesto of the Futurist Painters
Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, Gino Severini
These paid critics have other interests to defend. Exhibitions, competitions, superficial and
never disinterested criticism, condemn Italian art to the ignominy of true prostitution.
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, g y p
And what about our esteemed specialists? Throw them all out. Finish them off! The
Portraitists, the Genre Painters, the Lake Painters, the Mountain Painters. We have put up
with enough from these impotent painters of country holidays.
Down with all marble-chippers who are cluttering up our squares and profaning ourcemeteries! Down with the speculators and their reinforced-concrete buildings! Down with
laborious decorators, phony ceramicists, sold-out poster painters and shoddy, idiodic
illustrators!
These are our final conclusions:With our enthusiastic adherence to Futurism, we will:
Destroy the cult of the past, the obsession with the ancients, pedantry and academic
formalism.Totally invalidate all kinds of imitation.
Elevate all attempts at originality, however daring, however violent.
Bear bravely and proudly the smear of madness with which they try to gag all innovators.
Regard art critics as useless and dangerous.
Rebel against the tyranny of words: Harmony and good taste and other loose
expressions which can be used to destroy the works of Rembrandt, Goya, Rodin...
Sweep the whole field of art clean of all themes and subjects which have been used in the
past.
Support and glory in our day-to-day world, a world which is going to be continually and
splendidly transformed by victorious Science.
The dead shall be buried in the earths deepest bowels! The threshold of the future will be
swept free of mummies! Make room for youth, for violence, for daring!
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Joseph Stella
(American, 1877-
1946), Battle ofLights, ConeyIsland, c. 1913-14
Giacomo Balla, Swifts: Paths
of Movement + DynamicSequences (Volo RondiniGrondaia Cielo), 1913
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Umberto Boccioni, The Laugh(La risata), 1911,
Umberto Boccioni,Unique Forms ofContinuity in Space(Forme uniche dellacontinuit nellospazio), 1913, cast
1972
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Marcel Duchamp (American, born France,
1887-1968; in U.S.A. 1915-18, 1920-23,
1942-68), Nude Descending a Staircase,
1911-12,
Sometimes called Cubo-Futurist, so also see Cubism, as well as
the Armory Show of 1913, in which this painting was highly
controversial.
Giacomo
Balla (Italian,1871-1958), StreetLight (LampadaStudio di luce),
1909
Rousseau Henri known as Le Douanier Rousseau (1844-1910) The Dream
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Rousseau, Henri, known as Le Douanier Rousseau (1844 1910).French painter, the most celebrated of nave artists.
The Sleeping Gypsy1897
The Dream1910
Rousseau is a perfect example of the kind of artist in whom
the Surrealists believed: the untaught genius whose eye
could see much further than that of the trained artist.
Paul Klee(1879 - 1940)
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Hermitage. 1918. Watercolor on chalk ground.
Senecio. 1922. Oil on gauze.
Puppet
Theater.1923.
Watercolor
on chalk
ground.
Around the Fish. 1926. Tempera and oil.
(1879 1940)
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Contemplating. 1938. Paste color on newsprint.
Death and Fire. 1940. Oil on paper.
Polyphony. 1932.Tempera on linen.
Prades, theVillage. 1917.
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Joan Mir(1893-1983)
gOil on canvas.
Self-Portrait. 1917. Oil on canvas.Nude with Mirror. 1919.
Standing Nude. 1921.
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The Ear of Corn. 1922/23.
The Tilled Field. 1923/24
Harlequin's Carnival. 1924-25.
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Maternity. Oil on canvas. 92 x 73 cm. 1924
The Birth of the World. Oil on canvas. 1925
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Person Throwing a Stone at a Bird. 1926.
Dog Barking at the Moon. 1926.
Dutch Interior I. 1928.
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Swallow/Love. 1934.
Constellation: Awakening at Dawn. 1941
Constellation: The Morning Star. 1940
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The Lark's Wing, Encircled withGolden Blue, Rejoins the Heartof the Poppy Sleeping on aDiamond-Studded Meadow.
1967
A Dew Drop Falling from aBird's Wing Wakes Rosalie,who Has Been Asleep in theShadow of a Spider's Web.1939
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Max Ernst(1891-1976)
Family Excursions. c. 1919
Le Limaon de chambre. 1920. Tempera,goache, ink, pencil, collage on paper.
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Approacing Puberty or ThePleiads/La Pubert proche... ou
Les Pliades. 1921.
Oedipus Rex. 1922.
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Vision Induced by theNocturnal Aspect of thePorte St. Denis. 1927.
L'Ange du foyer ou Le Triomphe du surralisme. 1937.
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Europe after the Rain II. Oil on canvas. 54 x 146 cm. 1940-42.
The Robing of the Bride.
The Eye of Silence. 1943/44.
Painting for Young People. 1943
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In 1934, Surrealist Max Ernst created an extraordinary collage novel (or, as I
pointed out a few years ago, graphic novel), composed of collage images
constructed of cut-outs from popular French periodicals and catalogs of the
time.
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