22 Early Twentieth Century

Learning Objectives Identify how Fauves and other early-twentieth-century artists extended the interests of Post-Impressionists. Define Expressionism in early-twentieth-century art through a comparison of Fauvism, The Bridge, and Blue Rider groups. Describe the artistic goals and development of Cubism in art.

Learning Objectives Trace the shift toward abstraction in sculpture. Discuss the American interest in European Modern Art in the early twentieth century. Describe the importance of motion and modern technology to artists of the early twentieth century.

Introduction Changing views of the nature of reality Sigmund Freud Wright brothers Marie Curie and Einstein Impact of Industrial Revolution Middle class with longer life expectancy Revolutions from class tension Artists inspired by scientific discoveries

Introduction Characteristics of twentieth century art Fauvism Rapid change Diversity Individualism Exploration Fauvism Overturned authority of Renaissance with new forms and expression Henri Matisse, Harmony in Red

Henri Matisse. Harmony in Red (The Red Room). 1948. Oil on canvas Henri Matisse. Harmony in Red (The Red Room). 1948. Oil on canvas. 70-7⁄8" × 86-5⁄8". The State Hermitage Museum, St. Petersburg. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 22-1] Henri Matisse. Harmony in Red (The Red Room). 1948. Oil on canvas. 70-7⁄8" × 86-5⁄8". The State Hermitage Museum, St. Petersburg. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 22-1]

The Fauves and Expressionism "Les fauves," meaning “wild beasts” Matisse Expressive, thoughtful paintings Reduced subjects to a few outlines to preserve original impulse of feeling The Joy of Life Intentionally direct, child-like quality of form Seemingly careless depiction of figures

Henri Matisse. Le Bonheur de vivre (The Joy of Life). 1905–1906 Henri Matisse. Le Bonheur de vivre (The Joy of Life). 1905–1906. Oil on canvas. 69-1⁄8" × 94-7⁄8". The Barnes Foundation/The Bridgeman Art Library. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 22-2] Henri Matisse. Le Bonheur de vivre (The Joy of Life). 1905–1906. Oil on canvas. 69-1⁄8" × 94-7⁄8". The Barnes Foundation/The Bridgeman Art Library. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 22-2]

The Fauves and Expressionism André Derain, London Bridge Brilliant, invented color balanced by traditional composition and perspective Expanded versions of pointillist dots (Seurat) in the lower left Expressionism General term for art that emphasizes inner feelings over objective depiction Can be traced to Baroque Delacroix

André Derain. London Bridge. 1906. Oil on canvas. 26" × 39" André Derain. London Bridge. 1906. Oil on canvas. 26" × 39". The Museum of Modern Art (MoMA) Gift of Mr. and Mrs. Charles Zadok. 195.1952 Digital image: The MoMA, New York/Scala, Florence. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-3] André Derain. London Bridge. 1906. Oil on canvas. 26" × 39". The Museum of Modern Art (MoMA) Gift of Mr. and Mrs. Charles Zadok. 195.1952 Digital image: The MoMA, New York/Scala, Florence. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-3]

The Fauves and Expressionism German Expressionism Themes of natural life, sorrow, passion, spirituality, mysticism, human condition The Bridge (Die Brücke) group Ernst Ludwig Kirchner Expressed raw emotion similar to Munch Incorporated Cubism, African sculpture, and German Gothic qualities Street, Berlin Dissonant colors and crude brushwork

Closer Look: Ernst Ludwig Kirchner, Street, Berlin Ernst Ludwig Kirchner. Street, Berlin. 1913. Oil on canvas. 47-1⁄2" × 35-7⁄8". Museum of Modern Art (MoMA) Purchase. 274.1939. Digital image: The MoMA, New York/Scala, Florence. [Fig. 22-4] Ernst Ludwig Kirchner. Street, Berlin. 1913. Oil on canvas. 47-1⁄2" × 35-7⁄8". Museum of Modern Art (MoMA) Purchase. 274.1939. Digital image: The MoMA, New York/Scala, Florence. [Fig. 22-4]

The Fauves and Expressionism German Expressionism The Bridge (Die Brücke) group Modersohn-Becker, Self-Portrait... Reduced curves of head to flat regions Oversized eyes The Blue Rider (Der Blaue Reiter) group Led by Wassily Kandinsky Art to turn people away from false values Blue Mountain

Paula Modersohn-Becker. Self-Portrait with an Amber Necklace. 1906 Paula Modersohn-Becker. Self-Portrait with an Amber Necklace. 1906. Oil on canvas. 24" × 19-3⁄4". Kunstmuseum Basel. Photograph: akg-images. [Fig. 22-5] Paula Modersohn-Becker. Self-Portrait with an Amber Necklace. 1906. Oil on canvas. 24" × 19-3⁄4". Kunstmuseum Basel. Photograph: akg-images. [Fig. 22-5]

Wassily Kandinsky. Der blaue Berg (Blue Mountain). 1908–1909 Wassily Kandinsky. Der blaue Berg (Blue Mountain). 1908–1909. Oil on canvas. 41-3⁄4" × 38". Solomon R. Guggenheim Museum, New York. Solomon R. Guggenheim Founding Collection, By gift 41.505. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-6] Wassily Kandinsky. Der blaue Berg (Blue Mountain). 1908–1909. Oil on canvas. 41-3⁄4" × 38". Solomon R. Guggenheim Museum, New York. Solomon R. Guggenheim Founding Collection, By gift 41.505. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-6]

The Fauves and Expressionism German Expressionism The Blue Rider (Der Blaue Reiter) group Led by Wassily Kandinsky Shift to nonrepresentational imagery by 1910 Broke rule that art should be a "picture" of some subject Art in response to "inner necessity" and spirituality Composition IV

Web Resource: Wassily Kandinsky, Composition IV Closer Look: Wassily Kandinsky, Composition IV Wassily Kandinsky. Composition IV. 1911. Oil on canvas. 62-13⁄16" × 98-5⁄8". Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Photograph: Walter Klein, Düsseldorf. Peter Willi/The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-7] Wassily Kandinsky. Composition IV. 1911. Oil on canvas. 62-13⁄16" × 98-5⁄8". Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Photograph: Walter Klein, Düsseldorf. Peter Willi/The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-7]

Art Forms Us: Expression Nature A popular medium for artists' expression of inner states van Gogh, Wheatfield with Crows Sharp strokes of pure and intense color Sky ominously dark Angular roads lead to nowhere Intended to convey sadness, extreme loneliness

Vincent van Gogh. Wheatfield with Crows. 1890. Oil on canvas. 20" × 40". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 22-8] Vincent van Gogh. Wheatfield with Crows. 1890. Oil on canvas. 20" × 40". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 22-8]

Art Forms Us: Expression Nature Emil Nolde, Restless Sea Avoidance of brush strokes through laying down wet colors next to each other Unstable horizon line Warm colors standing out against cooler purple-blues Mysterious forces in nature akin to artist's own feelings

Emil Nolde. Restless Sea. Not dated. Watercolor on paper. 13-1⁄4" × 18". Stadtgalerie Kiel © Nolde Stiftung Seebuel. [Fig. 22-9] Emil Nolde. Restless Sea. Not dated. Watercolor on paper. 13-1⁄4" × 18". Stadtgalerie Kiel © Nolde Stiftung Seebuel. [Fig. 22-9]

Art Forms Us: Expression Nature Hans Hofmann, The Wind Canvas laid flat with paint dropped onto it in twisting motions Captures the swirling wind of a stormy day Intense and lyrical Freedom to interpret breeze since wind is invisible

Hans Hofmann. The Wind. 1942. Oil, duco, gouache, and India ink on poster board. 43-7⁄8" × 28". University of California, Berkeley Art Museum. Photograph: Benjamin Blackwell. [Fig. 22-10] Hans Hofmann. The Wind. 1942. Oil, duco, gouache, and India ink on poster board. 43-7⁄8" × 28". University of California, Berkeley Art Museum. Photograph: Benjamin Blackwell. [Fig. 22-10]

Cubism Pictorial composition over personal expression Pablo Picasso Breakthrough painting, Les Demoiselles d'Avignon Radical departure from traditional composition Influenced by African sculpture, such as Kota figure and Ivory Coast mask

Closer Look: Pablo Picasso, Les Demoiselles d'Avignon Web Resource: Museum of Modern Art: Picasso Pablo Picasso. Les Demoiselles d'Avignon (Young Ladies of Avignon). Paris. 1907. Oil on canvas. 8' × 7' 8". The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (333.1939) Digital Image, The MoMA, New York/Scala, Florence. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 22-11] Pablo Picasso. Les Demoiselles d'Avignon (Young Ladies of Avignon). Paris. 1907. Oil on canvas. 8' × 7' 8". The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (333.1939) Digital Image, The MoMA, New York/Scala, Florence. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 22-11]

Kota Reliquary Figure. French Equatorial Africa. Probably 20th century Kota Reliquary Figure. French Equatorial Africa. Probably 20th century. Brass sheeting over wood. Length 27-1⁄2". Department of Anthropology, Smithsonian Institution. Cat. No. 323686, Neg. No 36712A. [Fig. 22-12] Kota Reliquary Figure. French Equatorial Africa. Probably 20th century. Brass sheeting over wood. Length 27-1⁄2". Department of Anthropology, Smithsonian Institution. Cat. No. 323686, Neg. No 36712A. [Fig. 22-12]

Mask. Ivory Coast. Wood. 9-3⁄4" × 6-1⁄2" Mask. Ivory Coast. Wood. 9-3⁄4" × 6-1⁄2". Collection Musée de l'Homme, Paris. Photograph: D. Ponsard. [Fig. 22-13] Mask. Ivory Coast. Wood. 9-3⁄4" × 6-1⁄2". Collection Musée de l'Homme, Paris. Photograph: D. Ponsard. [Fig. 22-13]

Cubism Pablo Picasso Comparing Gardanne and Houses at l'Estaque Les Demoiselles d'Avignon Reconstruction of image and ground Fractured triangulation of forms Overturned traditions of Western art Comparing Gardanne and Houses at l'Estaque Progression from Post-Impressionist to Cubist styles

Paul Cézanne. Gardanne. 1885–1886. Oil on canvas. 31-1⁄2" × 25-1⁄4" Paul Cézanne. Gardanne. 1885–1886. Oil on canvas. 31-1⁄2" × 25-1⁄4". The Metropolitan Museum of Art. Gift of Dr. and Mrs. Franz H. Hirschland, 1957. (57.181). Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 22-14] Paul Cézanne. Gardanne. 1885–1886. Oil on canvas. 31-1⁄2" × 25-1⁄4". The Metropolitan Museum of Art. Gift of Dr. and Mrs. Franz H. Hirschland, 1957. (57.181). Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 22-14]

Georges Braque. Houses at l'Estaque. 1908. Oil on canvas. 28-1⁄2" × 23". Rupf Foundation, Bern, Switzerland. Photograph: Giraudon/ The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-15] Georges Braque. Houses at l'Estaque. 1908. Oil on canvas. 28-1⁄2" × 23". Rupf Foundation, Bern, Switzerland. Photograph: Giraudon/ The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-15]

Cubism Braque's additions to Cubist vocabulary Shapes define forms that pile up in shallow, ambiguous space Explored formal structure without emotional distractions of color Showed objects from mind's perspective The Portuguese A portrait of a man at a cafe table strumming a guitar

Georges Braque. The Portuguese. 1911. Oil on canvas. 46" × 32" Georges Braque. The Portuguese. 1911. Oil on canvas. 46" × 32". Offentliche Kunstsammlung, Basel, Switzerland/The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-16] Georges Braque. The Portuguese. 1911. Oil on canvas. 46" × 32". Offentliche Kunstsammlung, Basel, Switzerland/The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-16]

Cubism Synthetic Cubism A modified Analytical Cubism using color, texture, and patterned surfaces Shapes taken from cutout shapes Collage Printed images pasted onto paper Violin, Fruit, and Wineglass Picasso's Guitar Assembled sheet metal

Pablo Picasso. Violin, Fruit and Wineglass. 1913 Pablo Picasso. Violin, Fruit and Wineglass. 1913. Charcoal colored papers, gouache, and painted paper collage. 25-1⁄4" × 19-1⁄2". Philadelphia Museum of Art; A.E. Gallatin Collection, 1952-61-106. © 2013 Photo Art Resource/Scala, Florence. RMN-Grand Palais/Béatrice Hatala. [Fig. 22-17] Pablo Picasso. Violin, Fruit and Wineglass. 1913. Charcoal colored papers, gouache, and painted paper collage. 25-1⁄4" × 19-1⁄2". Philadelphia Museum of Art; A.E. Gallatin Collection, 1952-61-106. © 2013 Photo Art Resource/Scala, Florence. RMN-Grand Palais/Béatrice Hatala. [Fig. 22-17]

Pablo Picasso. Guitar. 1914. Construction of sheet metal and wire Pablo Picasso. Guitar. 1914. Construction of sheet metal and wire. 30-1⁄2" × 13-3⁄4" × 7-5⁄8". The Museum of Modern Art. Gift of the artist. 94.1971 Digital image: The MoMA, New York/Scala, Florence. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 22-18] Pablo Picasso. Guitar. 1914. Construction of sheet metal and wire. 30-1⁄2" × 13-3⁄4" × 7-5⁄8". The Museum of Modern Art. Gift of the artist. 94.1971 Digital image: The MoMA, New York/Scala, Florence. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 22-18]

Toward Abstract Sculpture Constantin Brancusi Romanian who studied under Rodin Radical, yet gradual break with the past Sleep in 1908 compared to Rodin's romantic naturalism Sleeping Muse I in 1911 simplified subject Newborn [I] in 1915 stripped to essentials

Constantin Brancusi. Sleep. 1908. White marble. 44" × 13-3⁄4" × 47-1⁄4". National Art Museum of Bucharest. Photograph: Adam Woolfitt/ Corbis/© 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-19] Constantin Brancusi. Sleep. 1908. White marble. 44" × 13-3⁄4" × 47-1⁄4". National Art Museum of Bucharest. Photograph: Adam Woolfitt/ Corbis/© 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-19]

Constantin Brancusi. Sleeping Muse I. 1909–1911. Marble Constantin Brancusi. Sleeping Muse I. 1909–1911. Marble. 6-3⁄4" × 10-5⁄8" × 8-3⁄8". Hirschhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of Joseph H. Hirschhorn (1966). © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-20] Constantin Brancusi. Sleeping Muse I. 1909–1911. Marble. 6-3⁄4" × 10-5⁄8" × 8-3⁄8". Hirschhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of Joseph H. Hirschhorn (1966). © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-20]

Constantin Brancusi. Newborn [I]. 1915. White marble Constantin Brancusi. Newborn [I]. 1915. White marble. 5-3⁄4" × 8-1⁄4" × 5-7⁄8". Philadelphia Museum of Art. Louise and Walter Arensberg Collection, 1950.134.10. © 2013 Photo Art Resource/Scala, Florence. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-21] Constantin Brancusi. Newborn [I]. 1915. White marble. 5-3⁄4" × 8-1⁄4" × 5-7⁄8". Philadelphia Museum of Art. Louise and Walter Arensberg Collection, 1950.134.10. © 2013 Photo Art Resource/Scala, Florence. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-21]

Toward Abstract Sculpture Constantin Brancusi Journey back to pre-classical style from Cyclades Cycladic II head Eventually eliminated surface embellishments Bird in Space Highly reflective bronze surface Weightless quality

Cycladic II. Naxos, Greece. 2700–2300 BCE. Marble. Height 10-1⁄2" Cycladic II. Naxos, Greece. 2700–2300 BCE. Marble. Height 10-1⁄2". Louvre Museum, Paris, France. RMN/Hervé Lewandowski. [Fig. 22-22] Cycladic II. Naxos, Greece. 2700–2300 BCE. Marble. Height 10-1⁄2". Louvre Museum, Paris, France. RMN/Hervé Lewandowski. [Fig. 22-22]

Constantin Brancusi. Bird in Space. 1928. Bronze (unique cast) Constantin Brancusi. Bird in Space. 1928. Bronze (unique cast). 54" × 8-1⁄2" × 6-1⁄2". The Museum of Modern Art (MoMA) Given anonymously. 153.1934. © 2013 Artists Rights Society (ARS), New York /ADAGP, Paris. [Fig. 22-23] Constantin Brancusi. Bird in Space. 1928. Bronze (unique cast). 54" × 8-1⁄2" × 6-1⁄2". The Museum of Modern Art (MoMA) Given anonymously. 153.1934. © 2013 Artists Rights Society (ARS), New York /ADAGP, Paris. [Fig. 22-23]

The Modern Spirit in America Alfred Stieglitz The Steerage Abstract composition Looked, to some, like two photographs rather than one Shapes and underlying feeling stressed Influential gallery including photography in New York Began to show work by American modernists

Alfred Stieglitz. The Steerage from Camera Work. 1907; No Alfred Stieglitz. The Steerage from Camera Work. 1907; No. 34, published October 1911. Photogravure. 12-5⁄8" × 10-3⁄16". Digital image, The Museum of Modern Art, New York/Scala, Florence. © 2013 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York. [Fig. 22-24] Alfred Stieglitz. The Steerage from Camera Work. 1907; No. 34, published October 1911. Photogravure. 12-5⁄8" × 10-3⁄16". Digital image, The Museum of Modern Art, New York/Scala, Florence. © 2013 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York. [Fig. 22-24]

The Modern Spirit in America Georgia O'Keeffe Work consisting of abstractions based on nature Evening Star Based on sightings of the planet Venus in darkening sky in the Texas Panhandle Venus left unpainted Wide, radiating sweeps of saturated color

Georgia O'Keeffe. Evening Star No. VI. 1917. Watercolor on paper Georgia O'Keeffe. Evening Star No. VI. 1917. Watercolor on paper. 8-7⁄8" × 12". The Georgia O'Keeffe Museum, Santa Fe. Gift of the Burnett Foundation 1997.18.03. Photo: Malcolm Varon 2001. Art Resource/Scala, Florence. © 2013 Artists Rights Society (ARS), New York. [Fig. 22-25] Georgia O'Keeffe. Evening Star No. VI. 1917. Watercolor on paper. 8-7⁄8" × 12". The Georgia O'Keeffe Museum, Santa Fe. Gift of the Burnett Foundation 1997.18.03. Photo: Malcolm Varon 2001. Art Resource/Scala, Florence. © 2013 Artists Rights Society (ARS), New York. [Fig. 22-25]

The Modern Spirit in America Frank Lloyd Wright Architecture reflects challenge in traditional concepts of form "Prairie houses" with open plans Robie House of 1909 Cantilevered roof Fluid design of asymmetrically interconnected spaces Flow between spaces

Frank Lloyd Wright. Robie House. 1909. Chicago, Illinois Frank Lloyd Wright. Robie House. 1909. Chicago, Illinois. Chicago History Museum HB-19312A2. © 2013 Frank Lloyd Wright Foundation, Scottsdale, AZ/Artists Rights Society (ARS), NY. [Fig. 22-26] Frank Lloyd Wright. Robie House. 1909. Chicago, Illinois. Chicago History Museum HB-19312A2. © 2013 Frank Lloyd Wright Foundation, Scottsdale, AZ/Artists Rights Society (ARS), NY. [Fig. 22-26]

Futurism and the Celebration of Motion Italian Futurists Added a sense of speed and motion to shifting planes and multiple vantage points of Cubism Celebrated machines Abstract Speed—The Car Has Passed Rushing air and dynamic feeling of roaring motorcar passing by Top speed of 35 mph fast for the time

Giacomo Balla. Abstract Speed—The Car Has Passed. 1913. Oil on canvas Giacomo Balla. Abstract Speed—The Car Has Passed. 1913. Oil on canvas. 19-3⁄4" × 25-3⁄4". © Tate Gallery, London/Art Resource, NY © 2013 Artists Rights Society (ARS), New York/SIAE, Rome. [Fig. 22-27] Giacomo Balla. Abstract Speed—The Car Has Passed. 1913. Oil on canvas. 19-3⁄4" × 25-3⁄4". © Tate Gallery, London/Art Resource, NY © 2013 Artists Rights Society (ARS), New York/SIAE, Rome. [Fig. 22-27]

Futurism and the Celebration of Motion Umberto Boccioni Sculpture fused with surrounding space Unique Forms of Continuity in Space Muscular forms leap forth in bursts of energy Marcel Duchamp Independent of Futurists Nude Descending a Staircase, No. 2 Influenced by stroboscopic photography

Umberto Boccioni. Unique Forms of Continuity in Space. 1913 Umberto Boccioni. Unique Forms of Continuity in Space. 1913. Bronze (cast in 1931). 43-7⁄8" × 34-7⁄8" × 15-3⁄4". Museum of Modern Art (MoMA). Acquired through the Lillie P. Bliss Bequest. 231.1948. Digital image: The MoMA, New York/Scala, Florence. [Fig. 22-28] Umberto Boccioni. Unique Forms of Continuity in Space. 1913. Bronze (cast in 1931). 43-7⁄8" × 34-7⁄8" × 15-3⁄4". Museum of Modern Art (MoMA). Acquired through the Lillie P. Bliss Bequest. 231.1948. Digital image: The MoMA, New York/Scala, Florence. [Fig. 22-28]

Closer Look: Marcel Duchamp, Nude Descending a Staircase, No. 2 Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912. Oil on canvas. 58" × 35". Philadelphia Museum of Art. The Louise and Walter Arensberg Collection, 1950. Photo The Philadelphia Museum of Art/Art Resource/Scala, Florence. © Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2013. [Fig. 22-29] Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912. Oil on canvas. 58" × 35". Philadelphia Museum of Art. The Louise and Walter Arensberg Collection, 1950. Photo The Philadelphia Museum of Art/Art Resource/Scala, Florence. © Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2013. [Fig. 22-29]

Futurism and the Celebration of Motion Marcel Duchamp Nude Descending a Staircase, No. 2 Movement of a body seen all at once Initially described as "an explosion in a shingle factory" Sonia Delaunay-Terk, Le Bal Bullier Interpretation of couples moving on the floor of a nightclub Push and pull of colors bring depth

Sonia Delaunay-Terk. Le Bal Bullier. 1913. Oil on mattress ticking Sonia Delaunay-Terk. Le Bal Bullier. 1913. Oil on mattress ticking. 3' 2-3⁄16" × 12' 9-1⁄2". Musée National d'Art Moderne, Centre Pompidou. White Images/Scala, Florence. © Pracusa 2013020. [Fig. 22-30] Sonia Delaunay-Terk. Le Bal Bullier. 1913. Oil on mattress ticking. 3' 2-3⁄16" × 12' 9-1⁄2". Musée National d'Art Moderne, Centre Pompidou. White Images/Scala, Florence. © Pracusa 2013020. [Fig. 22-30]