Alexandre-Gustave Eiffel, Eiffel Tower,Paris,France,1889 D: A wrought iron lattice tower A: Has a unique appearance and debatable function I: Eiffel jolted the world with the exposed iron skeleton of his tower. J: New materials and technologies and the modernist aesthetic fueled radically new architectural designs in the late 19 th century. Claude Monet, Impressionism, Sunrise,1872,Oil on Canvas, 1’7 ½”X 2’ 1 ½”, Musee Marmottan, Paris D: Boats sailing into the docks located close to factories. A: Sketchy Quality of the image and clearly evident brush strokes. I: Concern with acknowledgement of paint and canvas and adherence to impressionistic conventions J: A hostile critic applied the derogatory term “ Impressionism” to this painting because of its sketchy quality and clearly visible brush strokes. Claude Monet, Rouen Cathedral: The Portal(In Sun),1894; Oil on Canvas; 3’3 ¼ “X 2’1 7/8 “ ; Metropolitan Museum of Art, New York D: A view of the Rouen Cathedral A: Church is depicted in full light. Creation of an unparallel record of the passing time as seen in the movement of light over identical forms. I: Most intensive study of light and color J: Critics accused Monet and his companions of destroying form ad order for fleeting atmospheric effects.

Pierre Auguste Renoir; Le Moulin de la Galette;1876;Oil on Canvas; 4’3”X5’8”; Musee d’ Orsay, Paris D: People gathered in a popular Parisian dance hall A: Dappled the whole scene with sunlight and shade, artfully blurred into the figures to produce just with the effect of floating and fleeting light the Impressionists so cultivated. I: Attempted to depict the opposite of traditional classical art which expressed timeless and universal qualities. J: So lively is the atmosphere that the viewer can virtually hear the sounds of music, laughter, and tinkling glasses. Edgar Degas; The Rehearsal;1874; Oil on Canvas; 1’11”X2’9”; Glasgow Art Galleries and Museum,Glasgow D: A classical ballet rehearsal A: The arbitrary cut off figures, the patterns of light splotches, and blurry images in this work reveal Degas’s interest in reproducing fleeting moments, as well as fascination with photography I: Used several devices to bring the observer into the pictorial space J: The cunning spatial projection in Degas’s painting derived in part from Japanese prints. Left: Edgar Degas; The Tub;1886;Pastel; 1’11 ½”X2’* 3/8 “; Musee d’ Orsay,Paris Right: Torii Kiyonaga; Detail of Two Women at the Bath; ca.1780; Color Woodblock; full print; 10 ½ “X 7 ½ “ D: On the left a women is bathing in a tub. On the right is what seems to be a Japanese women bathing in her tub. A: Outlining of the major objects in the painting- the woman, the tub, and the pitchers- and covered all surfaces with linear hatch marks. I: Continuation of the modernist exploration of the premises of painting by acknowledging the artwork’s surface. J: Inspired by other various Japanese prints.

Mary Cassatt; The Bath ; ca. 1892; Oil on Canvas; 3’3”X 2’2”l Art Institute of Chicago, Chicago D: A mother helping her child wash her feet in the tub A: Visual solidity of mother and child contrasts with the flattened patterning of the wallpaper and rug. I: Much inspiration from Japanese Prints J: has its own strength and originality Vincent Van Gogh; Night Café;1888;Oil on Canvas; 2’4 ½”X 3’; Yale University Art Gallery, New Haven D: A scene in a night café A: Expressive values of color and development of corresponding expressiveness in the paint application. I: Exploration of the abilities of colors and distorted forms to express emotions. J: The thickness, shape, and direction of his brush strokes create a tactile counterpart to the intense colors Vincent Van Gogh; The Starry Night; 1889; Oil on Canvas; 2’5”X 3’ ¼” Museum of Modern Art, New York D: The night sky over a large village A: Abstract expression of color, shape, and line I: Expression of feelings toward electrifying the vastness of the universe J: Extremely famous for expression through brush strokes Gustav Klimt; The Kiss; ; Oil on Canvas; Osterreichische Galerie Belvedere, Vienna D: A couple locked in an embrace A: All that is visible of the couple is a small segment of each body while the rest is an extravagant flat patterning. I: Manifestation of fin-de-siecle spirit J: Patterning clearly ties to Art Noveau and to the Arts and Crafts Movement Henri Matisse; Woman with the Hat,1905; Oil on Canvas, 2’7 ¼” X 1’ 1 ½ “ San Francisco Museum of Modern Art D: Matisse’s wife in an extravagant hat A: Arbitrary colors immediately startle the viewer, as the sketchiness of the forms. I: Admiration of his beautiful wife J: High merit due to the production of a reaction in the viewer

Henri Matisse; Red Room, ; Oil on Canvas; State Hermitage Museum, Saint Petersburg D: A woman that seems to be a housemaid setting the table of a red dining room A: The table and wall seem to merge because they are the same color and have identical patterning I: Believed painters should choose compositions and colors that express their feelings J: Low merit because Matisse didn’t feel he attained the feeling of harmony through the red room. Pablo Picasso; les Demoiselles d’ Avigon,1907; Oil on Canvas; Museum of Modern Art, New York D: Two males mingling with two females in a reception room of a brothel on Avigon St.(Barcelona) A: Portraying the figures inconsistently. I: Influenced by ancient Iberian sculpture and the late paintings of Cezanne. J: Opened the door to a radically new method of representing forms in space Umberto Boccioni; Unique Forms of Continuity in Space,1913; Bronze; Museum of Modern Art, New York D: A running figure A: So expanded that it almost disappears behind the blur of the movement I: Search for sculptural means for expressing dynamic action J: Efforts to reach Futurist style Marcel Duchamp; Fountain,1950; Readymade glazed sanitary china with black paint; 1’ high’ Philadelphia Museum of Art, Philadelphia D: A porcelain urinal A: Conferring the status of its aesthetic qualities I: Rectified by modifying their substance J: Made in mass consumption and forced people to see it in anew light

Paul Gaugin; Where Do We Come From?...,1897; Oil on Canvas; Museum of Fine Arts, Boston D: The perception that we started in Tahiti A: South Pacific attraction and offering of a better life I: This is the answer the question of the painting title J: Medium Merit Paul Cezanne; Mount Saint-Victoire, ;Oil on Canvas; Philadelphia Museum of Art D: A mountain rising over all the forest A: Replacement of transitory visual effects of changing atmospheric conditions I: The clarity of forest and natural landscape J: High Merit Edward Munch; The Scream,1893; Tempera and Pastels on cardboard, National Gallery, Olso D: A: Munch used color, line, and figural distortion to evoke a strong emotional response from the viewer. I: The fear of failure J: Departs significantly from visual reality