1. Cubism, Dada, Surrealism

2. Pablo Picasso (Spanish, 1881-1973) Self Portrait, 1906

3. Pablo Picasso, (left) Portrait of the Artist's Mother, 1896, pastel on paper, Museo Picasso, Barcelona, Spain; (right) First Communion, 1895/6. The artist was 14 to 15 years old

4. Picasso, La Vie, 1903, 6’5” x 4’2” “Blue Period” Symbolism (right) Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? 1897-98 Symbolism

5. Pablo Picasso, Portrait of Gertrude Stein, 1906 (“Proto-Cubist”)

7. Picasso, Les Demoiselles D’Avignon, 1907, 8’/7’8” (proto- Cubism, Primitivism, Expressionism)

8. Picasso, studies for Les Demoiselles D’Avignon, 1906-7

9. Influence of African tribal sculpture

10. (left) Georges Braque (French, 1882-1963) in his Paris studio, early 1912 (right) Pablo Picasso (Spanish, 1881-1973) in his Paris studio, late 1911 In spite of out very different temperaments, we were guided by a common idea....the differences didn’t count.... We lived in Montmartre, we saw each other every day, we talked.... It was a little like being roped together on a mountain. Georges Braque on his friendship with Picasso and the formulation of Cubism, 1908-1914

11. (left) Pablo Picasso, Ma Jolie (Woman with a Guitar), 1911 (right) Georges Braque, The Portuguese (The Emigrant), 1911 Analytic Cubism

12. Georges Braque, Bottle, Newspaper, Pipe and Glass, 1913, charcoal and various papers pasted on paper, collage (papier collé), 1’7”x 2’1”

13. Picasso, Still life With Chair Caning, 1912, collage of oil, oilcloth, pasted paper on oval canvas surrounded by rope. Synthetic Cubism

14. Picasso, Maquette for Guitar, 1912, cardboard, string and wire (right) Grebo mask owned by Picasso

15. Dada rejects rational thought "Dada" arrived in almost all major Western cities between 1916 and 1922/3 5 main sites: Zurich, Paris, New York, Berlin, Cologne “Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and a new order of things that would restore the balance between heaven and hell.” - Jean (Hans) Arp

16. Hugo Ball (German,1886 -1927) performing Dada phonetic poem "karawane" on stage at Cabaret Voltaire, Zurich 1916 "Art for us is an occasion for social criticism, and for a real understanding of the age we lived in"

17. Jean (Hans) Arp, Collage Arranged According to the Laws of Chance, 1916- 17, torn and pasted paper, 19 x 13” "Art is a fruit that grows in man, like a fruit on a plant, or a child in its mother's womb." - Jean Arp

18. Marcel Duchamp (French- American, 1887-1968) Nude Descending a Staircase, No.2, 1912, oil on canvas, 58 x 35” Futurist style painting

19. Marcel Duchamp. Bottle Rack, 1914/64, bottle rack made of galvanized iron Bicycle Wheel, 1913, “Readymade”: bicycle wheel, mounted on a stool First “readymade” Originals are lost

20. Marcel Duchamp (A.K.A. R. Mutt), Fountain, 1917, New York DADA Duchamp chose his objects on the basis of "visual indifference… as well as a total absence of taste, good or bad."

21. Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) 1915-23, oil, lead wire, foil, dust, and varnish on glass, 8’11” x 5’7” http://youtu.be/lmag4vL7hnQ http://youtu.be/lmag4vL7hnQ

22. Man Ray (born Emmanuel Radnitsky, American, 1890-1976) Gift, 1921 Duchampian "ready-made assisted" & Surrealist "uncanny" object

23. (left) Man Ray, Érotique voilée (1934-35) Meret Oppenheim behind printing press (right) Meret Oppenheim (German, 1913-1985), Object (Luncheon in Fur) 1936, fur covered cup, saucer, spoon, two views, Surrealism 1936 photo of Object by Dora Maar

24. Precursors to Surrealism: 19 th Century Romanticism and Symbolism (left) Arnold Bocklin, The Isle of the Dead, 1880, oil on canvas, Symbolism (right) Francisco Goya, Saturn, 1821-1823, fresco remounted on canvas, Romanticism

25. Giorgio de Chirico, (Greek-Italian,1888-1978), The Melancholy and Mystery of a Street, 1914, oil on canvas, 34 x 28,” Metaphysical School, precursor of Surrealism

26. “Naturalist” or “Hand Painted Dream” Surrealism René Magritte (Belgian, 1898-1967) The Treachery of Images, 1928-29, oil on canvas, 23 x 31”, LACMA, Deconstruction

27. René Magritte, Les Valeurs Personnelles (Personal Values), 1952, 31 x 39” oil on canvas, SFMOMA, Surrealism John Baldessari at 2007 exhibition he designed: Treachery of Images: René Magritte and Contemporary Art. LACMA

28. AUTOMATONS and mannequins: “Dolls” are made of wood, metal, papier- mâché and dressed with wigs, clothing, etc. or not Hans Bellmer (Polish, 1902-75), La Poupée (Doll), 1935-49, hand colored gelatin silver print. (right) Bellmer, La Poupée, 1935-36: (center) La Poupée), 1934; gelatin silver prints. Surrealist photography The art object is the photograph, not the sculpture.

29. Luis Bunuel & Salvador Dali, frames from Un Chien Andalou (An Andalusian Dog), Surrealist film, France, 1928. Eyes, insects, metamorphosis, erotics, madness of the dream & subconscious

30. METAMOPHOSIS OF FORM Salvador Dali (Spanish, 1904-89) (left below) interpreted photograph, Paranoic Face, 1931 from Le Surrealisme au Service de la Revolution, no.3. “voluntary hallucination" = the "critical paranoic method" (right) Dali, Apparition of a face and a Fruit Dish, oil on canvas, 1930 I think the time is rapidly coming when it will be possible…to systematize confusion thanks to a paranoiac and active process of thought, and so assist in discrediting completely the world of reality.” - Dali

31. Salvador Dali, The Persistence of Memory, 1931 oil on canvas, 9 x 13,” MoMA NYC “The transcription of reveries.” Hand-painted dream photographs. Dali’s morphological aesthetics of the soft and hard and the search for form: “un-form” (Informe) Cape Creus, Catalonia

32. Pablo Picasso, Guernica, 1937, oil on canvas, 11’6” x 25’8”, Madrid

33. BIOMORPHISM + POPULAR CULTURE Joan Mirò (Spanish), Painting, 1933, oil on canvas, 5’8” x 6’5” MoMA, NYC (right) source collage of clippings from equipment catalogues

34. Alberto Giacometti (Swiss), The Palace at 4 a.m., 1932-3, 2 views, construction in wood, glass, wire, and string, 25 x 28 x 16”, MoMA NYC. Surrealist constructed sculpture 1932 sketch indicates pre-conception

35. Frida Kahlo (Mexican) What the Water Yields Me, oil on canvas,1938 Imogen Cunningham, Frida Kahlo in San Francisco, 1931

36. Frida Kahlo (Mexican 1907-1954) The Two Fridas, 1939, oil on canvas, 5’7” x 5’7”. Museo de Arte Moderno, Mexico City

37. Rivera, (left) with Frida Kahlo, 1930, (right) In The Arsenal, 1928, fresco, detail, Mexico City Ministry of Education. Frida Kahlo, center, distributes arms. In the right hand side Tina Modotti holds an ammunition belt. Text on the red banner is from a corrido, a song of the agrarian revolution.

38. Rivera at the Education Ministry, Mexico City, with one of his murals, 1924. Project began in 1922 and finished in 1928

39. Every artist who has been worth anything has been a propagandist... I want to be a propagandist of Communism and I want to be it in all that I can think, in all that I can speak, in all that I can write, and in all that I can paint. I want to use my art as a weapon..." The Revolutionary Spirit in Modern Art, Diego Rivera, 1932

40. Rivera, Wall Street Banquet, 1928, fresco, 2nd floor, Ministry of Education, MC

41. Diego Rivera. Death of the Capitalist. 1928. Fresco. South wall, Courtyard of the Fiestas, Ministry of Education, Mexico City, Mexico.

42. Diego Rivera, The History of Mexico. 1929-35. Fresco. West wall, detail of central arch, National Palace, Mexico City, Mexico

43. Diego Rivera. The History of Mexico - The Ancient Indian World. 1929-35. Fresco. North wall, National Palace, Mexico City, Mexico. The topic of this mural is the history of Mexico from the fall of Teotihuacan, about 900 BCE to the beginning of the presidency of Lázaro Cárdenas in 1935.

44. Diego Rivera. The History of Mexico. 1929- 35. Fresco. West wall, left inner arch, National Palace, Mexico City, Mexico

45. Diego Rivera, The Making of a Fresco Showing the Building of a City, 1931, fresco, San Francisco Art Institute

46. Diego Rivera’s San Francisco Institute fresco

47. Diego Rivera. Allegory of California, 1930-31. Fresco. Mural on wall and ceiling of main staircase between tenth and eleventh floors. Exchange's Luncheon Club/City Club, Pacific Stock Exchange Tower, San Francisco

48. Rivera, Pan-American Unity, 1940, fresco, City College of San Francisco, 5 panels

52. José Clemente Orozco The Expulsion of Quetzalcoatl (detail), fresco, of The Epic of American Civilization, 1932-34, mural cycle of 24 massive panels on the walls of the ground floor in the Baker Library reserve reading room, Dartmouth College, Hanover, New Hampshire. (right top and bottom) Orozco at work on the north and west walls

53. Golden age IIExpulsion of Quetzalcoatl (who points to his prophecy) Prophecy

54. José Clemente Orozco, panels 1 (Migration), 2 (Aztec Warriors), and 5 (Golden Age under rule of Quezalcoatl) from Epic of American Civilization, 1932-34

55. Epic of American Civilization: The Modern World

57. José Clemente Orozco, (left) Hispano-America (panel 16) Epic of American Civilization, fresco, 1932-4, Dartmouth College Library, New Hampshire

58. THE END OF THE AGE OF EUROPE AND EMERGENCE OF NEW YORK SCHOOL (left) Hitler occupies Paris, 1940 Artists in the Artists in Exile show at the Pierre Matisse Gallery, New York, March, 1942. Left to right, first row: Matta, Ossip Zadkine, Yves Tanguy, Max Ernst, Marc Chagall, Fernand Léger; second row: André Breton, Piet Mondrian, André Masson, Amédée Ozenfant, Jacques Lipchitz, Pavel Tchelitchew, Kurt Seligmann, Eugene Berman

59. The German occupation of France in World War II occurred between May 1940 and December 1944. German- occupied France is in red; so-called "Free zone" in blue (also occupied from November 1942). Regions of Alsace and Lorraine, annexed by the Third Reich, in deep red.

60. END OF THE AGE OF EUROPE AND EMERGENCE OF NEW YORK SCHOOL Max Ernst, Europe After the Rain, 1940-42, oil on canvas, 21 x 58,” automatist technique of decalcomania, which involves pressing paint between two surfaces