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? 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, ) in his Paris studio, early (right) Pablo Picasso (Spanish, ) 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,

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, ) performing Dada phonetic poem "karawane" on stage at Cabaret Voltaire, Zurich "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, , 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, ) 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) , oil, lead wire, foil, dust, and varnish on glass, 8’11” x 5’7”

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

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

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

25. Giorgio de Chirico, (Greek-Italian, ), 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, ) The Treachery of Images, , 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. The art object is the photograph, not the sculpture.
AUTOMATONS and mannequins: “Dolls” are made of wood, metal, papier-mâché and dressed with wigs, clothing, etc. or not Hans Bellmer (Polish, ), La Poupée (Doll), , hand colored gelatin silver print. (right) Bellmer, La Poupée, : (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, Eyes, insects, metamorphosis, erotics, madness of the dream & subconscious

30. METAMOPHOSIS OF FORM Salvador Dali (Spanish, ) (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. Frida Kahlo (Mexican) What the Water Yields Me, oil on canvas,1938
Imogen Cunningham, Frida
Kahlo in San Francisco, 1931

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

36. 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, 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

37. The German occupation of France in World War II occurred between May 1940 and December 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.

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