AGNY Study Pack # 1 Tenth Street Studios, 51 West 10th 1857-1956 2 The Heart of the Andes, 1859 Frederic Edwin Church 3 William Merritt Chase, Interior of the Artist’s Studio, 1882 4 James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875 5 Cassatt, Little Girl in a Blue Armchair, 1878 6 Tanner, View of the Seine Looking Toward Nôtre Dame, 1896 7 Romaine Brooks, Self-Portrait, 1922 8 Hopper, Steps in Paris, 1906 9 Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ﾊEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.

1. AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold:
The Falling Rocket, ca. 1875

2. 5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9

3. Edward Hopper: The Paris YearsFebruary 22 - June 1,
2003ﾊ Edward Hopper was the J.D. Salinger of American
painters, an extremely private man who granted few interviews.
Much of what scholars know about his work comes from his
wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris
Years, organized by the Whitney Museum of American Art of
New York, provides a tantalizing look at the early work of one
of America's best known figurative painters. The exhibition of
45 paintings and 10 works on paper opens at Charlotte, NC's
Mint Museum of Art on February 22 and runs through June 1,
2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906,
oil on wood, 13 x 9 3/16 inches, Collection of the Whitney
Museum of American Art, New York, from a 1970 bequest from
Josephine N. Hopper)Hopper said little about even his most
accomplished paintings, believing the work should speak for
itself. Scholars have been left to speculate on influences on his
career, from his realist art instructors Robert Henri, William
Merritt Chase andKenneth Hayes Miller at the New York School
of Art to the psychological reaction of a young man raised in a
small town coming to grips with isolation and loss of
community in the urban modern age that was New York City at
the turn of the century. The answer may be found in Paris, in
verse rather than on canvas. (right: Edward Hopper (1882-
1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4
inches, Collection of the Whitney Museum of American Art,
New York, from a 1970 bequest from Josephine N.
Hopper)Edward Hopper's early talent for drawing and painting
was encouraged by his mother Elizabeth. The family's middle
class concern for his future financial security influenced
Edward to attend The New York School of Illustrating before
transferring to the New York School of Art. Hopper would work
more than fifteen years as a commercial illustrator, work that he
despised. His skill at painting watercolors, however, is
attributed to the years spent as an illustrator. He was able to
master strokes with the brush and had a remarkable eye for
being able to adjust a composition to where it would have the

4. most immediate anddramatic impact on the viewer.After six
years of study at the New York School of Art, Hopper left for
France in October, 1906. His Paris studies coincided with an
exciting era in the history of the Modern movement. Hopper,
however, was untouched by Fauvist and Cubist art popular at
the time, continuing instead to follow his own artistic course.
(left: Edward Hopper (1882-1967), Le Pont des Arts, 1907, oil
on canvas, 23 7/16 x 28 3/4 inches, Collection of the Whitney
Museum of American Art, New York, from a 1970 bequest from
Josephine N. Hopper)"I've heard of Gertrude Stein, but I don't
remember having heard of Picasso at all," stated Hopper. "Paris
had no great or immediate impact on me." Then again, Hopper
later admits, "America seemed awfully crude and raw when I
got back. It took me ten years to get over Europe."In Europe,
Hopper also visited London, Amsterdam, Berlin, Brussels and
Spain. The painting that left the greatest impression on him was
Rembrandt's The Night Watch as did the work of painters Diego
Velasquez, Francisco de Goya, Honore Daumier and Edouard
Manet. (right: Edward Hopper (1882-1967), Le Bistro or The
Wine Shop, 1909, oil on canvas, 23 3/8 x 28 1/2 inches,
Collection of the Whitney Museum of American Art, New York,
from a 1970 bequest from Josephine N. Hopper)Hopper's palette
in Paris brightened considerably from the previous sober New
York paintings as seen in Le Quai des Grands Augustins (1909)
and Le Pavillon de Flore (1909). In a few examples, such as
Gateway and Fence (1907) and Le Parc de Saint Cloud (1907),
he employs Impressionist techniques. He remained committed to
realism and exhibited some of the basic characteristics that he
was to retain throughout his career: compositional style based
on simple, large geometric forms, flat masses of color and the
use of architectural elements in his scenes for their strong
verticals, horizontals and diagonals. Hopper's early Paris work
favored the depiction of small streets (Rivers and Buildings,
1907), architectural elements (Steps in Paris, 1906) and
interiors (Stairway at 48 rue de Lille, Paris, 1906).While
Modern painting failed to impress the young American, the

5. "poet of modern civilization" did. Hopper discovered the poetry
and critical writing of Charles-Pierre Baudelaire (1821 - 1867)
whose formulation of his aesthetic theory served as the
inspiration for the Symbolist movement away from painting by
observation to an expression of more subjective intellectual and
emotional visions. Hopper was to read and recite Baudelaire's
work throughout his life. The two men shared interests in
solitude, in city life, in modernity, in the solace of the night and
in places of travel. (left: Edward Hopper (1882-1967), Le
Pavillon de Flore, 1909, oil on canvas, 23 3/4 x 28 3/4 inches,
Collection of the Whitney Museum of American Art, New York,
from a 1970 bequest from Josephine N. Hopper)Baudelaire's
feelings for Paris, for the teeming modern city and his
compassion for the failures and outcasts in its streets expressed
in Le Spleen de Paris, is a forerunner to Hopper's dominant
theme of disconnect in 20th century America. Hopper's figures
in his mature work seem far from home, they sit or stand alone,
looking at a letter on the edge of a hotel bed or drinking alone
in a bar or gazing out the window of a moving train. Their faces
arevulnerable and introspective, adrift in transient
places.Hopper's personality was perfectly suited to the paintings
he produced. His realistic depictions of everyday urban scenes
allowed viewers to identify with the images and situation in a
personal manner. His emphasis on blunt shapes and angles and
the stark play of light and shadow had the power to shock
viewers into recognition of the strangeness of familiar
surroundings. (right: Edward Hopper (1882-1967), Le Quai des
Grands Augustins, 1909, oil on canvas, 23 1/2 x 28 1/2 inches,
Collection of the Whitney Museum of American Art, New York,
from a 1970 bequest from Josephine N. Hopper)Edward Hopper
was 43 years old before painting what is generally
acknowledged to be his first fully mature picture, The House by
the Railroad, in 1925. His deliberate, disciplined spareness
combined apparently incompatible qualities."Modern in
bleakness and simplicity, his Parisian was nostalgic in his
fondness for 19th century architecture," noted Mint Museum

6. curator Michael Whittington. "While his compositions are
realist, they make frequent use of covert symbolism."
Sargent,
Mr. and Mrs. I. N. Phelps Stokes, 1897
10
Childe Hassam, Washington Arch, Spring, 1892
Robert Henri,
Snow in New York, 1902
Ernest Lawson,
New York Street Scene, 1910
12
Jacob Riis,
Five-Cent Spot, 1888–1889
13

7. George Luks, Allen Street, ca.1905
14
George Luks, Street Scene (Hester Street), 1905
15
John Sloan, McSorley’s Bar, 1912 now in New York"
(1902
16
John Sloan, Sunday, Women Drying Their Hair, 1912
John Sloan Sunday, Women Drying Their Hair, 1912
McKim, Mead & White, Pennsylvania Station, 1910

8. 18
Bellows,
Pennsylvania Station Excavation, 1907-8
19
.
George Bellows, The Lone Tenement, 1909
20
View of the Armory Show, 1913
21
Francis Picabia, Dances at the Spring , 1912
22

9. Seeing New York with a Cubist: The Rude Descending a
Staircase
(Rush hour at the subway), 20 March, 1913, J. Amswold
23
Gallery H at ”The Armory Show,” 1913
24
Constantin Brancusi,
Then Kiss, 1908
25
Constantin Brancusi,
Sleeping Muse I, 1909-10
26
Henri Matisse, The Red Studio, 1911

10. 27
Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912
28
Gertrude Käsebier and Clarence H. White exhibition at the
Little Galleries of the Photo Secession , 1906
29
Gertrude Käsebier,
Blessed Art Thou Amongst Women, 1899
Gertrude Käsebier,
The Manger (Ideal Motherhood) , 1899
30
Gertrude Käsebier,

11. Alfred Stieglitz, 1902, printed 1906
31
Alfred Stieglitz,
Venetian Canal, 1894
32
Alfred Stieglitz,
Flatiron Building, 1903
33
Edward Steichen,
The Flatiron, 1904
34
Stieglitz, The Steerage, 1907
The term “straight photography” was popularized by critic

12. Sadakichi Hartmann, who often wrote for Camera Work. In a
1904 article titled “A Plea for Straight Photography,” Hartmann
bemoaned the excessive handwork and painterly flourishes that
characterized much of what he saw in Pictorialist photography,
arguing, “We expect an etching to look like an etching, and a
lithograph to look like a lithograph, why then should not a
photographic print look like a photographic print?”
35
Stieglitz: “There were men and women and children on the
lower deck of the steerage. There was a narrow stairway leading
to the upper deck of the steerage, a small deck right on the bow
of the steamer. To the left was an inclining funnel and from the
upper steerage deck there was fastened a gangway bridge that
was glistening in its freshly painted state. It was rather long,
white, and during the trip remained untouched by anyone.On the
upper deck, looking over the railing, there was a young man
with a straw hat. The shape of the hat was round. He was
watching the men and women and children on the lower steerage
deck…A round straw hat, the funnel leaning left, the stairway
leaning right, the white drawbridge with its railing made of
circular chains – white suspenders crossing on the back of a
man in the steerage below, round shapes of iron machinery, a
mast cutting into the sky, making a triangular shape…I saw
shapes related to each other. I saw a picture of shapes and
underlying that the feeling I had about life."
Stieglitz, The Steerage, 1907
36
"

13. Picabia, New York, 1913
Picabia Star Dancer with her Dance School, 1913
Picabia show at Stieglitz:
March 2013
37
“Brancusi Sculpture” exhibition
(at 291, March 1914)
38
Chapter 11 Population and Migration
CHINA’S ONE-CHILD POLICY WAS BEGUN IN 1979 TO
REDUCE POPULATION GROWTH. Residents of Guangdong
Province looked at a propaganda billboard for the policy.
However, after more than 35 years, the one-child policy was
rescinded in October 2015 after its long-term demographic and
economic implications caused many to question it.
Learning Objectives
1. 11.1Evaluate the causes as well as negative consequences of
high and low population growth rates
2. 11.2Recall the types, causes, and gender roles of global

14. migration
3. 11.3Identify the push factors of migration
4. 11.4Identify the pull factors of migration
5. 11.5Illustrate how migration and population issues are
important components of human, national, and global security
6. 11.6Examine the social, economic, and political implications
of migration on the sending and receiving countries
Population and migration issues, perhaps more than any other
global problem, demonstrate the reality of globalization.
Hunger, inequality, ethnic conflicts, environmental degradation,
sustainable development, the treatment of women, global
security, economic development, trade, poverty,
democratization, human rights concerns—all aspects of
globalization are intertwined with population. To a large extent,
population factors will determine the future of humanity and the
world. Rapid population growth is a silent threat to both human
and global security, making it as grave a concern as the
proliferation of weapons of mass destruction.
Demographic disparities among countries generally influence
the distribution of economic, military, and political power
among states. For example, France dominated continental
Europe for a long time partly because of its relatively large
population, although Britain used its geographic location and its
navy to counter French power. America’s growing population is
likely to consolidate its power, whereas Europe’s aging and
declining population is likely to diminish its power in the global
system. Russia’s population decline has contributed to its loss
of power globally. Population growth in the developing world is
helping shift economic and political power to emerging market
economy countries.1
Migration makes population issues an even more pressing global
concern. Each wave of globalization has been accompanied by
migration. The movement of capital, technology, and products
across national boundaries is inseparable from the migration of
people. The current period of globalization is marked by an
unprecedented movement of people around the world. The

15. creation of global institutions and the globalization of human
rights and democracy have facilitated migration as well as given
rise to a global human rights regime that protects migrants,
independent of their nationality. This chapter focuses on
population growth and its global implications. The different
kinds of migrants and migrations are discussed. The pressure on
Western Europe due to migration from Africa and the Middle
East, and the possible effects from the November 13, 2015
terrorist attack on Paris, are also noted in this chapter. The role
of gender in migration, rural-to-urban migration,
transcontinental migration, forced migration, refugees, reform
migration, and the global smuggling of immigrants are all
examined. The causes of migration are as old as human
civilization. After analyzing them, we will look at case studies
that illustrate the dynamics of global—as opposed to regional
and internal—migration. The chapter concludes with a case
study of global aging and pensions.
11.1: Population
1. 11.1 Evaluate the causes as well as negative consequences of
high and low population growth rates
At the heart of population as a global issue is the extent to
which population growth threatens the Earth’s carrying
capacity. Overpopulation (i.e., too many people living in an
area that has inadequate resources to support them) has been a
global preoccupation for centuries. Population problems must be
seen in the context of consumption. In this context, the
population of the developed world, which consumes much, is
seen as a bigger problem for the world’s resources than the
population of the developing world, which consumes little.
Often, population problems can be avoided if population growth
remains stable, assuming that resources are also carefully
managed. The rate at which the population remains relatively
stable is referred to as the replacement rate. To achieve this,
fertility rates must average 2.1 children per couple. Migration
influences the replacement rate, population growth, and
population decline.

16. Thomas Malthus (1766–1834), an English economist,
sociologist, and pioneer in demographics, wrote An Essay on
the Principle of Population in 1798. In it, he argued that
because population increases by a geometrical ratio and food
supplies increase by an arithmetical ratio, the world would have
high rates of population growth and suffer from poverty and
starvation. The widespread practice of family planning and
technological and scientific revolutions in food production,
transportation, and storage essentially rendered these dire
predictions false. The invention of genetically modified crops
and other agricultural scientific breakthroughs further challenge
Malthus’s argument. However, food shortages and higher prices,
due partly to the use of corn to produce biofuels, complicate the
discussion on food and population. High population growth
remains a serious threat to most developing countries and, as we
discussed in Chapter 9, frustrates efforts to reduce global
poverty and economic inequality. Malthus was concerned about
the Earth’s carrying capacity. Carrying capacity refers to the
maximum number of humans or animals a given area can
support without creating irreversible destruction of the
environment and, eventually, humans and animals themselves.
Combined with fervent nationalism and a perception that
survival itself is at stake, population pressures often result in
military conflict. The Palestinian-Israeli struggle is an example
of how demographic changes are perceived as determining
destiny. Jews now comprise roughly 50.5 percent of the
population in Israel and the Palestinian territories. By 2020, the
proportion of Jews will decline to 42.1 percent, whereas the
Palestinians, who now make up 44.3 percent of the population,
will see their share of the population grow to 52 percent. The
birthrate for Palestinians in the West Bank and Gaza is 40 for
every 1,000 people. The birthrate for Palestinians in Israel is
36 per 1,000 people. Compare this with a birthrate for Jews of
18.3 per 1,000, and you will see why demographic changes are
perceived as threats to Israel’s security.
11.1.1: Population Issues in Developing Countries

17. Most developing countries have high population growth rates
and suffer from vast differences in income. Inadequate
education, low rates of contraception usage, cultural norms that
value large families and male virility, the need for labor in
subsistence economies, and the need to have children to support
parents are some of the reasons population growth is higher in
poorer countries. Most of the countries with the largest
populations and the highest growth rates are in the developing
world. Roughly 97 percent of the increase in the global
population is occurring in Africa, Asia, the Middle East, and
Latin America, with the more prosperous countries in these
regions experiencing declining growth rates. Industrialized
countries, on the other hand, are experiencing declining growth
rates and even depopulation in some cases.
In India, more than 400 million people—roughly the combined
populations of the United States and Britain—live in dire
poverty and are illiterate. Nonetheless, the population in India
grows by about three people a minute, or two thousand an hour,
or forty-eight thousand per day. In other words, the growth of
India’s population each day is equivalent to that of a medium-
sized American city. By 2025, India is projected to surpass
China as the world’s most populous country, with about 1.5
billion people, compared with China’s 1.4 billion people. China
and India alone account for one out of every three children
added to the global population.
Problems arising from rapid population growth have influenced
governments, nongovernmental organizations (NGOs), and
women to take action to limit population growth. It is generally
agreed that women’s level of education strongly influences
fertility rates. Education helps to determine factors that affect
population growth rates, such as contraceptive usage, the age of
marriage and childbearing, social status and self-perception, and
employment opportunities outside of the home and residence.
An interesting development is the declining birthrates in Brazil,
Mexico, Bangladesh, India, the Philippines, Iran, Vietnam,
Indonesia, and Egypt, where poverty and illiteracy remain

18. serious and pervasive problems. Even women who are less
educated have become more assertive about their reproductive
choices. Factors influencing this change include economic and
cultural globalization, greater access to education, increasing
urbanization, the declining influence of religion on women’s
reproductive lives, greater access to medical technologies, and
the cumulative effects of satellite television and other media
that stress the advantages of having fewer
children. Sexism strongly influences population decisions in
developing countries. In many societies, tradition supports
having large families by praising the fertility of women and the
virility of men. The son complex—the preference for having
boys instead of girls—influences many parents worldwide to
continue having children until a boy is born. Parents, especially
mothers, are demeaned in many societies if they do not produce
boys. In many traditional South Asian families, a boy is
expected to live with his parents, be employed, inherit property,
provide financial security for aging parents, and light their
funeral pyres. A daughter, by contrast, is widely perceived as a
financial and social liability. When she marries, her family is
required, by tradition, to provide the bridegroom’s family with a
substantial dowry, which can be money, property, or both.
Parents often incur significant debt to provide dowries. Sexism
also conspires with advanced medical technology to reduce the
number of girls in some countries such as India and China. With
the use of ultrasound machines to determine the sex of the fetus,
many parents often decide to abort female fetuses. India passed
a law in 1996 prohibiting medical staff from informing parents
of the gender of a fetus, but it appears to be ignored. Based on
the predominance of male births, researchers estimate that more
than six million girls have been aborted in India since 2000.
Those practices plus female infanticide have contributed to a
widening divergence in the ratio of females to males in many
parts of India and China.
China’s one-child policy, initiated in 1979 by Deng Xiao Ping,
China’s leader, and rescinded in October 2015, was the most

19. controversial approach to dealing with rapid population growth.
China established the state family planning bureau to formulate
policies and procedures for enforcing the one-child policy.
Family planning committees at the local level, a part of the
Communist Party, were responsible for rewarding those who
complied with the policy and punishing those who violated it.
Those who complied with it received a monthly stipend until the
child was fourteen years old and got preferential treatment when
applying for housing, education, and health benefits for the
child; they were also granted a pension in old age. Those who
failed to comply with the one-child policy risked the loss of
benefits for the first child, jeopardized their employment with
the government, and risked having their property seized.
Women often were forced to be sterilized, especially after the
birth of a second child. Exceptions to the one-child
policy included the following cases: (1) if the first child had a
defect; (2) in the case of a remarriage; (3) if couples are
involved in certain jobs, such as mining; or (4) if both partners
came from families with one child. Demographic and economic
implications of the one-child policy influenced more Chinese to
question it, leading first to a modification of it and finally to its
being rescinded.2
11.1.2: Population Issues in Developed Countries
Compared with the developing world, Europe has always had a
smaller population. Among the reasons for this disparity are:
1. Europe was settled by humans who migrated from Africa into
Asia. In other words, it started out with a smaller population.
2. Geography and climate discouraged large numbers of people
from settling in Europe.
3. Confronted with overpopulation, Europe was able to conquer,
colonize, and settle in North America, South America, parts of
Africa, parts of Asia, Australia, and New Zealand.
The Industrial Revolution and scientific advances in agriculture
made Europeans prosperous and diminished the need to have
large families.
Europe is faced with the spread of subreplacement fertility

20. regimes: that is, patterns of childbearing that would eventually
result in indefinite population decline. The sharpest dip in
population is in Russia. Widespread environmental problems,
alcohol poisoning, sexually transmitted diseases, and an
abortion rate that is twice as high as live births have combined
to decrease Russia’s population by roughly 700,000 each year.
If current demographic trends continue, Russia will see its
current population of 140.4 million drop precipitously to 100
million in forty to fifty years.3 Such long-range predictions are
often highly speculative and turn out to be inaccurate.
Nevertheless, it is clear that Russia is going through a
population implosion. Though immigration has slowed the
decline of Western Europe’s populations, immigration levels are
not high enough to alter the demographic realities. The United
States, Canada, and Australia are actually gaining population
largely due to increased immigration and rising fertility rates.
As Table 11.1 shows, by 2010, the median age in the United
States reached 36.6, compared to 43.3 in Italy and 44.3 in
Germany, due to the rapid growth in the number of the elderly
and the subreplacement problem. Three major reasons account
for Europe’s aging societies:
1. Life expectancy has climbed due to medical advancements, a
healthier environment, improved nutrition, and greater concerns
about safety and public health.
2. The huge baby boom generation of the 1940s and 1950s is
now entering middle age and moving into the old-age category.
3. Declining fertility rates, below the replacement rate, increase
the proportion of the population that is old.
America’s aging population, while growing, will comprise a
smaller percentage of the overall population because of the
number of young immigrants and higher fertility rates. Japan
faces not only an aging population but also subreplacement
fertility rates.
Developed countries face many challenges that require the
implementation of difficult and controversial strategies. These
strategies include the following:

21. 1. Substantially increasing immigration to offset declining
fertility rates
2. Postponing or abandoning retirement
Table 11.1 Demographic Contrasts Between Rich and Poor
Countries
Adapted from UN Development Programme, Human
Development Report 2010 (Basingstoke, Hampshire, UK, and
New York: Palgrave Macmillan, 2010).
Country
Median Age, 2010 (years)
Total Fertility Rate, 2010–2015 (births per woman)
Population Annual Growth Rate, 2010–2015 (%)
Rich Countries
Japan
44.7
1.3
20.2
France
40.1
1.9
0.4
United States
36.6
2.0
0.9
Italy
43.3
1.4
0.2
Germany
44.3
1.3
20.2

22. Poor Countries
Bangladesh
24.5
2.2
1.3
Haiti
21.6
3.2
1.5
Nigeria
18.6
4.8
2.1
Zambia
16.8
5.3
2.4
Sierra Leone
18.2
5.0
2.3
3. Encouraging higher fertility rates
4. Investing more in the education of workers to increase
productivity
5. Strengthening intergenerational responsibilities within
families
6. Targeting government-paid benefits to those who need them
most
7. Requiring workers to invest for their own retirements
The implications of these changes are far reaching. Significant
tensions within rich countries over such strategies are already
evident in many European countries.11.2: Global Migration
1. 11.2 Recall the types, causes, and gender roles of global

23. migration
Migration—the movement of people from one place to
another—is an integral component of human behavior. Our
ancestors moved out of curiosity and a sense of adventure; to
find food, to search for better grazing and agricultural lands; to
seek protection from adversaries; to conquer land for new
settlements; and to obtain religious, political, social, and
economic freedoms. Contemporary migration is rooted in the
earlier periods of political, military, economic, and financial
globalization that we discussed in Chapter 1. Migration includes
the movement of people within a country’s geographical
boundaries as well as movement across national boundaries.
People who migrate fall into several categories. A migrant is a
person who moves from one country or area to another country
or location. Migrants often move from one part of a country to
another location within that country. The broad category of
migrant is subdivided into refugees, displaced persons, and
immigrants. Refugees are essentially migrants who live outside
their country and are unable or unwilling to return because of
documented cases of persecution or a well-founded fear of
persecution. Historically and today, conflicts, famine, natural
disasters, and political, religious, and economic oppression have
been dominant factors contributing to the creation of refugees.
Refugees who attempt to obtain permanent residence in the
country to which they fled are referred to as asylum seekers.
The immigration laws of most countries distinguish asylum
seekers from other categories of migrants and generally grant
them preferential treatment, in accordance with international
law. A displaced person is someone who has been forced to
leave his or her home because of violence, conflict, persecution,
or natural disaster but has not crossed an international border.
Many displaced people eventually cross national boundaries,
thereby becoming refugees. An immigrant is someone who goes
to a foreign country to become a permanent resident. Most
migration occurs in a relatively limited geographical area,
despite growing transcontinental migration (i.e., the movement

24. of people from one continent to another).11.2.1: Gender and
Migration
Men are more likely than women to migrate under ordinary
circumstances. There are several reasons for this. Who migrates
is determined to a large extent by the requirements imposed by
countries, companies, or individuals who need labor. Much of
the work to be done is culturally defined as work for men. Large
numbers of men from Turkey, North Africa, and the Caribbean
migrated to Germany, France, and Britain, respectively, after
World War II to help rebuild these countries. Men throughout
the world have been recruited to work in industry, construction,
and mining. Cultural norms and sex roles within sending
countries also determine whether men are more likely than
women to migrate. Gender roles also influence men to migrate
in search of employment. Men are generally perceived as
breadwinners in most countries, whereas women are viewed as
being responsible for taking care of the home. Economic
development and greater access to education for women change
cultural views of gender roles and provide more employment
opportunities for women. Demographic changes and greater
employment opportunities for women in developed countries are
transforming gender migration. Women migrate to rich societies
to work in factories, tourism, education, hospitals, businesses,
and private homes. As more women work outside the home in
rich countries, more women from poor countries are hired to do
domestic work.11.2.2: Types of Migration
Although migration, as a contemporary global issue, is often
thought of primarily as movement from developing countries to
rich countries, far more common is the movement of people
within countries and from one country to another within a
particular geographical or cultural region. Regional migration is
fueled by increasing economic opportunities in a country or
group of neighboring countries. For example, people in North
Africa move to Spain, France, and Italy to find employment,
and people from Zimbabwe, Mozambique, Botswana, and
Lesotho have migrated to South Africa to work in mining and

25. other industries. Rural-to-urban migration is the dominant
pattern of migration in both rich and poor countries. Many rural
areas across the United States are losing population as residents
seek better opportunities in urban areas. Much of the migration
in the developing world is from rural areas to cities. Rural-to-
rural migration (i.e., the movement of people from one rural
area to another) is common in many parts of the world, despite
the relatively limited economic opportunities found in most
small towns or agricultural areas. Many migrants follow the
planting, cultivation, and harvesting of various crops. Urban-to-
urban migration is common in most countries. Families and
individuals move from one city to another to find employment,
to pursue a college degree, or to be in a culturally dynamic area.
Urban-to-rural migration is usually designed to encourage the
economic development of the countryside and to relieve
population pressures on urban centers. Brazil, China, Indonesia,
and Nigeria are countries that have used this strategy. Another
type of migration is seasonal migration. People often move from
one area to another because of the seasonal demand for labor.
Agricultural industries often demand more labor at certain times
of the year than at others. Harvesting fruit, sugarcane, coffee,
and other crops requires intensive labor for a short period of
time. Seasonal migration is also driven by other industries such
as tourism.
Another type of migration is transit migration. In this case,
those seeking to enter a specific country pass through another
country or stay there temporarily. For example, migrants use
Mexico as a transit point for illegal entry into the United States.
Visiting Mexico’s main immigration detention center, you see
migrants from Ecuador, India, Cuba, China, Albania, Russia,
Ukraine, Tanzania, Sierra Leone, Sri Lanka, Bangladesh, and
other countries. Similarly, migrants attempting to enter Western
Europe use countries such as Italy, Greece, Bosnia, Croatia,
Serbia, Bulgaria, Hungary, Poland, and the Czech Republic as
transit points. Many migrants also stop temporarily in Europe
on their way to the United States and Canada. Within Europe,

26. France is used as a transit point for migrants attempting to enter
Britain to take advantage of its asylum policies.
Forced and induced migration is an integral component of
human history. Various minorities have been routinely expelled
from countries because of political, social, ethnic, and religious
differences. The Spanish crown forced Jews to leave Spain in
1492; Africans were forcibly removed from their homeland and
enslaved in the Americas, the Middle East, and other parts of
the world; and the Cuban and Chinese governments have used
forced migration to achieve various political and economic
objectives.4 Another type of migration—one that is becoming
common in an age of globalization—is return migration. For
example, many American citizens retain meaningful ties with
another country. Throughout history, some migrants have
returned to the places they left. In the late nineteenth century,
roughly a third of European migrants to the United States were
returning after a few years. Immigrants from Southern Europe,
particularly Italy, were most likely to return after saving enough
money to build homes, start small businesses, or buy farms.
This trend of migration was strengthened by the relative
newness of migration from Southern Europe and by declining
transportation costs and faster and more reliable means of
transportation. Economic success in the new country also
motivates people to return to their country of origin. India and
China, for example, encourage return migration to assist
economic development. The global financial crisis slowed
economic growth in Europe and the United States, which
influenced Latin Americans who had migrated to Spain and the
United States to return home.511.2.3: Causes of Migration
Although the causes of migration are diverse and vary from one
individual to another, demographers generally divide them into
two categories: namely, push factors and pull factors.6Push
factors are negative developments and circumstances that
motivate or force people to leave their homes. These include
widespread abuses of fundamental human rights, political
oppression, forced resettlement programs and expulsion, high

27. levels of violence and endemic political instability, rapid
population growth, high rates of unemployment, poverty,
natural and environmental disasters, the relative lack of
educational and cultural opportunities, globalization, and
discrimination that excludes specific groups and individuals
from competition for resources and power. Pull factors are
positive developments and circumstances in other areas or
countries that attract people away from their homes. These
include economic opportunities, higher wages, political and
cultural freedom and stability, a comparatively healthy
environment, educational and cultural opportunities, and family
reunification.
11.3: Push Factors
1. 11.3 Identify the push factors of migration
Widespread abuses of fundamental human rights, discussed
in Chapter 3, have traditionally pushed people from their
homes. The United States was settled by many individuals who
were deprived of basic human rights. Many Jews, political
dissidents, homosexuals, and others fled Nazi Germany because
of the government’s systematic and profound violations of the
most basic human rights, including the right to life. During the
Cold War, many Central and Eastern Europeans fled oppression
in the Communist countries. Cubans migrated in large numbers
when Fidel Castro came to power and imposed severe
restrictions on fundamental freedom.
Forced resettlement programs and expulsion are significant push
factors. Governments have both forced and encouraged people
to migrate for several reasons. These include the following
desires:
1. To achieve cultural homogeneity. This is particularly the case
in newly independent countries that were faced with
incompatible ethnic groups living in their artificially
constructed boundaries. Yet, the practice of achieving cultural
homogeneity by expelling people perceived as different has
deep historical roots. Catholic Spain expelled the Jews in the

28. fifteenth century, and Catholic France expelled
the Huguenots (i.e., French Protestants and followers of John
Calvin) in the sixteenth century.
2. To subdue a region or a people. China’s occupation of Tibet
in 1950 was followed by the mass migration of Han
Chinese settlers. During the Cultural Revolution (1966–
1976), Mao Zedong, China’s leader, sent his Red Guard storm
troopers to subdue Tibet.
3. To evict dissidents and opponents of the government. Fidel
Castro, determined to build a Communist society, influenced
and coerced almost a million people to leave Cuba.
4. To achieve foreign policy objectives. Forced emigration is
sometimes implemented as a component of broader foreign
policy objectives. Governments use forced emigration to exert
pressure on neighboring countries. For example, Castro has used
emigration as an instrument of his foreign policy toward the
United States.
5. To achieve economic and national security
objectives. Several governments have forcibly removed people
from one area of the country to another as part of an overall
economic development or national security strategy.
High levels of violence and political instability are factors that
push people away from home. Declining population growth
rates in rich countries facilitate migration that is driven by high
population growth rates in the developing world. High rates of
unemployment and poverty are widely regarded as dominant and
constant push factors. Natural disasters, environmental
problems, and famines push people away from their homelands
or force them to relocate within their countries.
Globalization and discrimination are also push factors.
Globalization has contributed to the creation of strong economic
regions within, as well as among, countries. Globalization’s
emphasis on economic liberalization, free trade, and diminished
government involvement in the economy has resulted in the
displacement of millions of small farmers in the developing …

29. EDUC 742
PPOL 650
Reading Summary and Reflective Comments Form and
Instructions
For each assigned reading, summarize the main principles and
reflect on these principles in order to make the content
meaningful to you. This will ensure that you understand the
reading and its relationship to current events. The reflective
comments may draw on your experiences or information from
other readings. You must also critique ideas in light of a
biblical worldview. Approximate length of main principles
summaries must be 100–125 words each and must be in
paragraph form, and the reflective comments must be 150–200
words each. Submit the Reading Summary and Reflective
Comments by 11:59 p.m. (ET) on Sunday in Modules/Weeks 1–
7, adding the new entries each time.
Student:
Reading
Assignment
Main Principles
Reflective Comments
Reading Summary 1
Henderson
Payne
United States Constitution

30. Reading Summary 2
Henderson
Payne
U.N. Charter
Reading Summary 3
Henderson
Payne
Reading Summary 4
Henderson
Payne
Reading Summary 5
Henderson
Payne
Reading Summary 6
Payne

31. Reading Summary 7
Payne
Page 2 of 3
PPOL 650
Student:
5 Points
4 Points
3 Points
0–2 Points
Critical
Thinking
Rich in content:
full of thought, insight, and analysis. Ideas are critiqued in light
of a biblical worldview.
Substantial information:
a degree of thought, insight, and analysis has taken place.
Generally competent:
information is thin and commonplace.
Rudimentary and superficial:
no analysis or insight is displayed.
Connections
The summaries are reflective. Ideas are critiqued in light of a
biblical worldview. Clear connections to real-life situations.
New connections lack depth and/or detail.
Limited, if any, connections. Vague generalities.
No connections are made. Off topic.
Uniqueness
New ideas and connections display depth and detail.
New ideas and connections lack depth and/or detail.

32. Few, if any, new ideas or connections, simply restates or
summarizes.
No new ideas or connections are explained.
Timeliness
All required postings submitted, adding new entries each time.
Most required postings submitted, adding new entries each time.
Some postings submitted.
All required postings missing.
Stylistics
Few grammatical or stylistic errors. Reflections are 150–200
words. Summaries are 100–125 words. Written in paragraph
form.
Some grammatical or stylistic errors. Reflections are 150–200
words. Summaries are 100–125 words. Written in paragraph
form.
Obvious grammatical or stylistic errors that interfere with
content. Reflections and summaries have less than the required
amount of words.
Obvious grammatical or stylistic errors that make understanding
impossible. The required amounts of words are not met.
Total ____________________________/25
Reading Summary and Reflective Comments Grading Rubric
AGNY 2019 study pack # 2
Max Weber, Chinese Restaurant, 1915
2

33. John Sloan,
Chinese Restaurant, 1909
3
Marsden Hartley, The Warriors, 1913
4
Dove, Sentimental Music, 1913
(pastel)
5
O’Keeffe, Drawing XIII, 1915
6
O’Keeffe,

34. Train at Night in the Desert, 1916
7
O’Keeffe solo exhibition at “291,” 1917
8
Stieglitz, Last Days of "291," 1917
9
Francis Picabia,
Here, This is Stieglitz Here, 1915
10
Man Ray,
Portrait of Alfred Stieglitz, 1913

35. 11
Marsden Hartley,
Portrait of a German Officer, 1914
12
Charles Demuth,
I Saw the Figure 5 in Gold, 1928
13
Morton Schamberg & Baroness Elsa von Freytag-Loringhoven,
God,
c. 1917
14
Duchamp, Fountain, 1917 (photo by Alfred Stieglitz)

36. 15
Duchamp, Paris Air, 1919
16
Stieglitz,
Old and New New York, 1910
17
Bertram Hartman, Trinity Church and Wall Street, 1929
18
CCass Gilbert,

37. Woolworth Building, 1913
“tallest building in the world” (1913-1930)
19
John Marin, Woolworth Bldg.,No. 28, 1912
20
Stella, The Voice of the City of New York Interpreted, 1920-22
The Battery
The Great White
Way Leaving the
Subway
The Prow
Broadway
Brooklyn Bridge
21

38. Paul Strand, Wall Street, 1915
22
Georgia O'Keeffe,
New York Street with Moon, 1926
23
Georgia O'Keeffe,
Radiator Building at Night, 1926
24
25
Charles Demuth, Waiters at the Brevoort, ca. 1915

39. 26
Guy Pène du Bois, Mr. and Mrs. Chester Dale Dine Out, 1924
27
John Sloan, The Lafayette, 1927
28
John Sloan, Arch Conspirators, 1917
A mock revolution was held atop Washington Square Arch in
January 23, 1917. From left to right: Charles Frederick Ellis,
Marcel Duchamp (standing), Gertrude S. Drick ("Woe"), Allen
Russell Mann, Betty Turner, John Sloan
29
Gallatin’s Gallery of Living Art, NYU, c. 1935
30

40. Between 1927 and 1943, New York University was home to
A.E. Gallatin's Gallery of Living Art—renamed the Museum of
Living Art in 1936
31
Robert Henri,
Gertrude Vanderbilt Whitney, 1916
32
Whitney,
Christopher Columbus, 1929 (Huelva, Spain)
33
Whitney, Titanic Memorial, 1931 (Washington, D.C.)
34

41. The original Whitney Museum of American Art at 10 West 8th
Street, founded 1931
35
current Whitney Museum of American Art, 2015,
Designed by architect Renzo Piano
36
Charles Ebbets, Lunch Atop a Skyscraper, 69th Floor, RCA
Bldg., 1932
37
38

42. Raymond Hood,
RCA Bldg., 30 Rockefeller Plaza, NYC
1933
39
Paul Manship, Prometheus, Rockefeller Plaza, 1934
40
Lee Lawrie, Atlas, 1936
(International Bldg. Rockefeller Center)
41
Isamu Noguchi, News, 1940
(Associated Press Bldg.)
42

43. Stuart Davis, Men Without Women, 1932 (Men’s Smoking
Lounge),
Radio City Music Hall
43
Philip L. Goodwin and Edward Durell Stone,
The Museum of Modern Art, 1939 (model)
44
Philip L. Goodwin and Edward Durell Stone,
The Museum of Modern Art, 1939
45
Alexander Calder,
Lobster Trap and Fish Tail, 1939
(on original main staircase at MoMA)

44. 46
Barr at MoMA, c. 1950
47
1953: The Abby Aldrich Rockefeller Sculpture Garden,
designed by Philip Johnson
48
Thomas Hart Benton, had lined the third-floor New School
boardroom with nine panels of what would be a 10-panel mural,
America Today
(photo c. 1930s)
49
Thomas Hart Benton, America Today, 1930-1
(now: The Metropolitan Museum of Art)

45. Commissioned by New School director, Alvin Johnson
50
Thomas Hart Benton, America Today, 1930-1
(now: The Metropolitan Museum of Art)
Egg tempera with oil glazing on a gesso ground on linen
mounted to wood panels with a honeycomb interior
51
52
Benton, “Instruments of Power,” America Today, 1930-1
53
Thomas Hart Benton,

46. “Steel,” America Today, 1930–31
54
On his return to New York in the early 1920s, Benton declared
himself an "enemy of modernism"; he began the naturalistic and
representational work today known as Regionalism, or
American Scene painting
55
Thomas Hart Benton,
“Changing West,” America Today, 1930–31
56
Thomas Hart Benton,
“City Activities with Subway,” America Today, 1930–31
57
Los Tres Grandes:
Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros

47. Orozco Rooms, New School for Social Research, 1931
Five major works : Science, Labor, and Art introduces the cycle
(hallway); Homecoming of the Worker of the New Day;
Struggle in the Orient; Struggle in the Occident; and Table of
Universal Brotherhood (Orozco Room)
(fresco)
59
Orozco,
Allegory of Science, Labor, and Art, 1930-1 (New School)
60
Orozco,
Struggle in the Occident: Carrillo Puerto and Lenin and the
Bolshevik Revolution, 1930-1
(New School)
The socialist revolution in Mexico personified by the figure of
the slain Governor of Yucatán, Felipe Carrillo Puerto, and the
Marxist revolution in Russia led by Lenin (and Stalin at right)

48. 61
Orozco, Table of Universal Brotherhood, 1931 (New School)
Figures: two Asians, an African, a Sikh, a Tartar, a Mexican-
Indian, an African-American, an American art critic, a French
philosopher, a Zionist and a Dutch poet
62
Orozco, Table of Universal Brotherhood, 1931 (New School)
In the 1950's, at the height of the McCarthy era, the New School
administration elected to cover the portion of the panel
depicting Lenin and Stalin with a yellow curtain. After vigorous
student and faculty protests, the administration restored the
murals to their original state.
63
65

49. Aaron Douglas
66
Aaron Douglas, Aspects of Negro Life, 1934
(The New York Public Library, Schomburg Center for Research
in Black Culture)
67
Aaron Douglas,
Aspects of Negro Life: The Negro in An African Setting, 1934
68
Douglas,
Aspects of Negro Life Series: An Idyll of the Deep South, 1934
In An Idyll of the Deep South, Douglas subverts the myth of the
"happy southern plantation Negro" by flanking the central
theme of the painting-cheerful and contented African Americans
singing, dancing, and playing music-with the images of black
southern reality, the aftermath of a brutal lynching and black
workers toiling in the fields. This reality of racism and
economic hardship is underscored through Douglas's
incorporation of a star and its emanating ray of light in the left-

50. hand corner of the composition. Although this star has generally
been perceived as a representation of the North Star, in April of
1971, during a conversation with David Driskell, Douglas
revealed that in fact the star was his version of the red star of
Communism. Douglas added that he had included this star in An
Idyll of the Deep South to illustrate the hope held by some
black Harlem intellectuals that true equality might be attained
through the alternative policies of communism and socialism
69
Douglas,
Aspects of Negro Life: From Slavery Through Reconstruction ,
1934
The far right section is comprised of silhouettes symbolizing the
doubt and uncertainty of African American slaves. The trumpet-
playing silhouette depicts the transformation of doubt into the
exultation felt after the reading of the Emancipation
Proclamation of 1863. In this section, Douglas encircled a piece
of paper, which represents the Proclamation and dramatically
emphasizes its importance, as it is this piece of paper that freed
the slaves. The second section embodies the strength of the
Black leaders of the time. The figure standing in the middle is
holding a document and pointing to the Capitol off in the
distance . . . the leader, is undoubtedly urging the free Blacks to
cast their ballots rather than to continue picking cotton as
slaves. Similar to the first section, Douglas highlights the ballot
with circles to display its significance in upholding the rights of
African Americans and the importance of voting itself. The
third section, located on the left of the panel, characterizes the
withdrawal of the Union soldiers from the South and the rise of
white supremacist groups In the background, Douglas uses dull
colors to depict the silhouettes of departing Union soldiers. The

51. small size of the soldiers compared to the larger white-hooded
figures on horseback signifies the emergence of white
supremacist groups, most notably the Ku Klux Klan.
70
Song of the Towers celebrates the fluorescence of jazz and the
increasing urbanism of African Americans during the first third
of the twentieth century. In the composition, the figure of a
saxophonist stands atop a great cog, recalling the machinery of
the industrialized North, while playing his horn with one hand.
The shoulder pads of his suit indicate his contemporary clothing
while the silhouette of the Statue of Liberty can be made out in
the far background, between the high rise buildings that flank
the musician, firmly placing him in New York City.
Douglas,
Aspects of Negro Life: Song of the Towers, 1934
71
Lucienne Bloch, Diego Rivera, and Frida Kahlo
72
Lucienne Bloch,
The Evolution of Music, 1938 (George Washington High
School, NYC)

52. 73
Lucienne Bloch,
The Evolution of Music,1938 (George Washington High School,
NYC)
74
Lucienne Bloch,
The Evolution of Music, 1938 (George Washington High
School, NYC)
75
Lucienne Bloch,
The Evolution of Music, 1938 (George Washington High
School, NYC)
Lucienne Bloch,
The Evolution of Music, 1938 (George Washington High
School, NYC)

53. AGNY
Study Pack # 4
Jacob Lawrence, No. 2, Main Control Panel, Nerve Center of
Ship, 1944
Jacob Lawrence (1917–2000), No. 2, Main Control Panel, Nerve
Center of Ship, 1944. United States Coast Guard Museum, New
London, CT.
2
Benton, Exterminate!, 1942
(from “The Year of Peril” series)
In the wake of Pearl Harbor, Benton decided to create gigantic
propaganda pictures to be hung in Kansas City's Union Station.
He wanted to jolt ''the milling travelers'' to comprehend the
evils of fascism. Working at breakneck speed, Benton within six
weeks painted eight brutal works of unbridled violence that are
collectively known as the ''Year of Peril'' series: ''Starry Night,''
''Again,'' ''Indifference,'' ''Casualty,'' ''The Sowers,'' ''The
Harvest,'' ''Invasion'' and ''Exterminate!'' Benton had one
overriding objective in mind: to portray America's enemies as
genocidal maniacs.
3
Harry Sternberg, Jon Corbino, Yasuo Kuniyoshi, George Grosz
Decorations for 1943 Art Students League Costume Ball,

54. Roosevelt Hotel, NYC
4
Identification on verso (handwritten): Left to right; Harry
Sternberg, Jon Corbino, Yasuo Kuniyoshi, George Grosz.
Identification on Art Student's League mailing label pasted on
verso (handwritten): Decorations for 1943 for League Costume
Ball, Roosevelt Hotel, 1943. Published in: Archives of
American Art Journal v. 13, no. 2, p. 3; v. 26, no. 2-3, p.
52.Forms part of: Miscellaneous photographs collection
Citation: Faculty of the Art Students League working on a mural
of Hitler, 1943 / Brown Brothers (New York, N.Y.),
photographer. Miscellaneous photographs collection, Archives
of American Art, Smithsonian Institution.
Tchelitchew,
Portrait of Lincoln Kirstein, 1937
5
Tchelitchew, Pavel (1898-1957) - 1937 Portrait of Lincoln
Kirstein School of American Ballet
Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937, oil on
canvas. On view in ﾒ Lincoln Kirsteinﾓ at the Whitney Museum
of American Art, New York, through August 27.Pavel
Tchelitchew was a Russian-born surrealist painter, set designer
and costume designer. He left Russia in 1920, lived in Berlin
from 1921 to 1923, and moved to Paris in 1923. In Paris
Tchelitchew became acquainted with Gertrude Stein and,
through her, the Sitwell and Gorer families. He and Edith
Sitwell had a long-standing close friendship and they

55. corresponded frequently.His first U.S. show was of his
drawings, along with other artists, at the newly-opened Museum
of Modern Art in 1930. In 1934, he moved from Paris to New
York City with his partner, writer Charles Henri Ford. From
1940 to 1947, he provided illustrations for the Surrealist
magazine View, edited by Ford and writer and film critic Parker
Tyler. His most significant work is the painting Hide and Seek,
painted in 1940ﾐ 42, and currently on display in the Museum of
Modern Art in New York City. He became a United States
citizen in 1952 and died in Grottaferrata, Italy in
1957.Tchelitchew's early painting was abstract in style,
described as Constructivist and Futurist and influenced by his
study with Aleksandra Ekster in Kiev. After emigrating to Paris
he became associated with the Neoromanticism movement. He
continuously experimented with new styles, eventually
incorporating multiple perspectives and elements of surrealism
and fantasy into his painting. As a set and costume designer, he
collaborated with Serge Diaghliev and George Balanchine,
among others.Among Tchelitchew's well-known paintings are
portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein
and the works Phenomena (1936-1938) and Cache Cache (1940-
1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris,
1933), Nobilissima Visione (London, 1938) and Ondine (Paris,
1939), among other productions.
16 East 57th street near Madison: Paul Rosenberg & Co
(established in NYC in 1940)
6
16 East 57th street near Madison Paul Rosenberg & Co.
Pierre Matisse opened the gallery which bore his name in Nov.
1931 in the recently completed Fuller Building in N.Y., 41 East

56. 57th Street
7
Artists exhibiting in the “Artists in Exile” show at the Pierre
Matisse Gallery, New York, March 1942, photo by George Platt
Lynes
First row (left to right): Matta, Ossip Zadkine, Yves Tanguy,
Max Ernst, Marc Chagall, Fernand Léger Second row (id.):
André Breton, Piet Mondrian, André Masson, Amédée Ozenfant,
Jacques Lipchitz, Pavel Tchelitchew, Kurt Seligmann, Eugene
Berman.
8
Artists exhibiting in the ﾒ Artists in Exileﾓ show at the Pierre
Matisse Gallery,ﾊ New York, March 1942 -by George Platt
Lynes First row (left to right):ﾊ Matta, Ossip Zadkine, Yves
Tanguy, Max Ernst, Marc Chagall, Fernand L使er Second row
(id.):ﾊ Andr� Breton, Piet Mondrian, Andr� Masson, Am仕仔
Ozenfant, Jacques Lipchitz, Pavel Tchelitchew, Kurt Seligmann,
Eugene Berman.
Fernand Léger,
Study for Cinematic Mural, Study II , 1938-39

57. 9
Leger, Fernand (1881-1955) - 1938-39 Study for Cinematic
Mural, Study II (Museum of Modern Art, New York
City)Gouache and pencil on board; 50.2 x 38.0 cm 1931 That
September, on invitation from Sara and Gerald Murphy, Léger
travels to the U.S. for the first time
1933: Léger exhibition at Kunsthaus Zürich 1935:Second
trip to America. Visits his exhibitions at the Museum of Modern
Art, New York, and the Art Institute, Chicago 1936: In early
March, Alfred Barr’s exhibition “Cubism and Abstract Art,”
including five Léger paintings, opens at the MoMA 1938:
On September 15, Léger embarks on his third American
journey, occasioned by a mural commission for Nelson
Rockefeller’s apartment in New York 1939: Design for a
Cinematic Mural at the Rockefeller Center, New York, to be
executed in collaboration with American architect Wallace K.
Harrison. The mural is envisaged in the form of a film, with
images that move in harmony with the escalators in the Radio
City Building. The project is rejected. In early March, Léger
returns to France 1940: Leaves France, going by ship from
Marseille via Lisbon to the U.S. Exile in New York (1940-45)
Harry Holtzman ,
Sculpture I, 1940
Sculpture I, 1940, Harry Holtzman, Collection of The Carnegie
Museum of Art, Pittsburg, Pennsylvania
10
Piet Mondrian, Broadway Boogie Woogie, 1942-43

58. 11
MoMA Piet Mondrian. Broadway Boogie Woogie. 1942-43
Oil on canvas, 50 x 50" (127 x 127 cm). Mondrian, who had
escaped to New York from Europe after the outbreak of World
War II, delighted in the city's architecture. He was also
fascinated by American jazz, particularly boogie-woogie,
finding its syncopated beat, irreverent approach to melody, and
improvisational aesthetic akin to what he called, in his own
work, the "destruction of natural appearance; and construction
through continuous opposition of pure means—dynamic
rhythm." In this painting, his penultimate, Mondrian replaced
the black grid that had long governed his canvases with
predominantly yellow lines that intersect at points marked by
squares of blue and red. These atomized bands of stuttering
chromatic pulses, interrupted by light gray, create paths across
the canvas suggesting the city's grid, the movement of traffic,
and blinking electric lights, as well as the rhythms of jazz.
Piet Mondrian,
Victory Boogie Woogie, 1942-1944
12
Piet Mondrian, Victory Boogie Woogie, 1942-1944. Oil paint,
pieces of paper and plastic, and black chalk on canvas, 127 x
127 cm, vertical axis 179 cm. On loan from the Netherlands
Institute for Cultural Heritage, Amsterdam. Acquired for the
nation thanks to a gift from the Nederlandsche Bank.
At the time of Mondrianﾕ s fairly sudden death in early 1944 at
the age of seventy-two, Victory Boogie Woogie was still
unfinished. The lozenge-shaped painting was covered with

59. loosely attached bits of coloured paper and plastic which
Mondrian was using to try out new emphases and rhythms.
Given the time, he would probably have replaced them by a
rather more regular, painted version of the fragmented visual
rhythms. He never had the chance to do so but, even in this
state, Victory Boogie Woogie is an impressive painting and
provides moving evidence that Mondrian died at the very height
of his creative powers. Its distinctive lozenge shape underlines
the fact that Mondrian was seeking to maximise the spatial
spread of his composition. The interwoven colours and the
rhythm of the fragmented network of lines undoubtedly reflect
the bustle of big-city life in New York. A feast for the
eye Victory Boogie Woogie is a feast for the eye. Blue,
yellow, red and white are interwoven over the entire surface,
fragmented into larger and smaller planes and small blocks of
colour. White is varied by shades of grey, blue by blocks so
dark that they look almost black, and yellow in a couple of
conspicuous places by shades of ochre. Even the red is varied
here and there, though less obviously so. The dynamic of the
composition is based on horizontal and vertical lines, but these
now provide little firm footing. They are, as it were, fragmented
by the small blocks of colour, and are repeatedly doubled,
interrupted before they reach the edge of the canvas and fanned
out. A striking feature is the way smaller and larger elements of
the composition interlock, creating startling syncopations in the
often driving visual rhythms and ensuring that the composition
remains open on every side. Although the title Victory
Boogie Woogie was not invented by Mondrian, it is known that
he saw this painting as a follow-up to his 1942-1943 painting
Broadway Boogie Woogie and that he used the word ﾔ Victoryﾕ
in relation to it. The term Boogie Woogie refers to a new kind
of jazz then popular in New York, in which short melody lines
were interrupted by open rhythmical patterns. Victory
undoubtedly refers to the triumph of a new form of art in a free
world, something in which Mondrian continued to have
unshakeable faith even in the darkest days of the Second World

60. War.
Piet Mondrian studio at the time of his death, 1944
15 East 59th Street, New York, photographed by Fritz Glarner
13
Lipchitz, study for Arrival, 1941
Lipchitz, Arrival, 1941
14
Jacques Lipchitz This gouache is a pictorial study for the
bronze sculpture of 1941 Arrival (A.G. Wilkinson, no. 345)
Marc Chagall ,
White Crucifixion, 1938
Marc Chagall, Around Her, 1945
(On 2 September 1944, Bella died suddenly due to a virus
infection, which was not treated due to the wartime shortage of
medicine)
15
Marc Chagall, Autour d’Elle, 1945, Beaubourg centre Georges
Pompidou On 2 September 1944, Bella died suddenly due to a

61. virus infection, which was not treated due to the wartime
shortage of medicine. As a result, he stopped all work for many
months, and when he did resume painting his first pictures were
concerned with preserving Bella's memory.[14] Wullschlager
writes of the effect on Chagall: "As news poured in through
1945 of the ongoing Holocaust at Nazi concentration camps,
Bella took her place in Chagall's mind with the millions of
Jewish victims." He even considered the possibility that their
"exile from Europe had sapped her will to live.
A consortium of civic leaders and others led by, and under the
initiative of, John D. Rockefeller III built Lincoln Center as
part of the "Lincoln Square Renewal Project" during Robert
Moses' program of urban renewal in the 1950s and 1960s
Wallace Harrison: the center's master plan and the Metropolitan
Opera House
September 23, 1962: Philharmonic Hall (now David Geffen )
opened.
April 6, 1964: Lincoln Center Fountain opened. Renamed the
Revson Fountain
April 23, 1964: New York State Theater (now David H. Koch
Theater) opened.
October 14, 1965: Vivian Beaumont Theater and the Forum
(now Mitzi E. Newhouse Theater) opened.
November 30, 1965: The Library & Museum of the Performing
Arts opened.
September 16, 1966: The Metropolitan Opera House opened.
Wallace Harrison: the center's master plan and the Metropolitan

62. Opera HouseMay 14, 1959: Ground-breaking ceremony with
U.S. President Dwight D. Eisenhower
September 23, 1962: Philharmonic Hall (now Avery Fisher
Hall) opened. A two-hour live CBS special, Opening Night at
Lincoln Center, preserved the event on videotape.
April 6, 1964: Lincoln Center Fountain opened. Renamed the
Revson Fountain
April 23, 1964: New York State Theater opened.
October 14, 1965: Vivian Beaumont Theater and the Forum
(now Mitzi E. Newhouse Theater) opened.
November 30, 1965: The Library & Museum of the Performing
Arts opened.
September 16, 1966: The Metropolitan Opera House opened.
16
Chagall, The Triumph of Music (left) and The Sources of Music
(Right) , 1966
17
In 1966, master painter Marc Chagall painted to enormous
murals for the Metropolitan Opera, entitled “The Triumph of
Music” (left) and “The Sources of Music.” (Right) The murals,
considered New York treasures, were painted in Paris then sent
to New York. They are visible from the plaza of Lincoln Center.
SURREALISM, noun, masc., Pure psychic automatism by which
it is intended to express, either verbally or in writing, the true
function of thought. Thought dictated in the absence of all
control exerted by reason, and outside all aesthetic or moral
preoccupations.

63. ENCYCL. Philos. Surrealism is based on the belief in the
superior reality of certain forms of association heretofore
neglected, in the omnipotence of the dream, and in the
disinterested play of thought. It leads to the permanent
destruction of all other psychic mechanisms and to its
substitution for them in the solution of the principal problems
of life.
André Breton, “First Surrealist
Manifesto,” 1924
The first Surrealist manifesto was written by Breton and
released to the public in 1924. The document defines Surrealism
as:
"Psychic automatism in its pure state, by which one proposes to
express — verbally, by means of the written word, or in any
other manner — the actual functioning of thought. Dictated by
the thought, in the absence of any control exercised by reason,
exempt from any aesthetic or moral concern."
18
Fantastic Art, Dada, Surrealism exhibition at The Museum of
Modern Art (1936)
Fantastic Art, Dada, Surrealism, The Museum of Modern Art’s
first exhibition to focus on Dada, was organized by founding
director Alfred H. Barr, Jr., in 1936. It was the most
comprehensive presentation of Dada works since the Dadaists’
own exhibitions. It was also the first to be organized by a
nonparticipant and the first to present Dada as a historical
movement. The exhibition was rife with controversy and
provoked fierce reactions from battling factions among the

64. Dadaists and the Surrealists. For example, Tristan Tzara, a
leader of the Dada movement and one of the exhibition’s most
important lenders, threatened to forbid Barr from exhibiting his
loans when he learned that the exhibition’s title had been
changed from The Fantastic in Art to include Surrealism and
that the French Surrealist André Breton was to write the
catalogue preface. For their part, Breton and French Surrealist
poet Paul Éluard disapproved of the final format of the
exhibition; they wanted it to be an official Surrealist
“manifestation.” Critical response to the exhibition was mixed.
In 1937, when the show circulated around the country, lender
Katherine Dreier withdrew her artworks and feuded with Barr
over his inclusion of works by children and “the insane,” and A.
Conger Goodyear, President of the Museum’s board of trustees,
requested that other items be removed.
19
André Masson,
Automatic Drawing, 1924
Andre Masson, Automatic Drawing, 1924
20
André Masson, Pasiphaë, 1945
The daughter of Helios and Perse, and wife of King Minos,
Pasiphaë was the mother of Glaucus, Andogeus, Phaedra, and
Ariadne. When Minos had the misfortune of insulting Poseidon,
the god kindled a passionate love in Pasiphae for a bull. She had
Daedalus design a construction so that she could mate with the
bull, and thus she became the mother of the Minotaur.

65. André Masson (French, 1896–1987) Pasiphaë 1945
Medium:Pastel on black paperDimensions:27 1/2 x 38 1/8"
(69.8 x 96.8 cm)Credit Line:Gift of André Masson MoMA
Number:346.1977Copyright:© 2013 Artists Rights Society
(ARS), New York / ADAGP, Paris
The daughter of Helios and Perse, and wife of King Minos. She
was the mother of Glaucus, Andogeus, Phaedra, and Ariadne.
When Minos had the misfortune of insulting Poseidon, the god
kindled a passionate love in Pasiphae for a bull. She had
Daedalus design a construction so that she could mate with the
bull, and thus she became the mother of the Minotaur.
21
Yves Tanguy, The Furniture of Time, 1939
22
The Furniture of Time - Yves Tanguy 1939 MoMA, New York
Oil on canvas46 x 35 1/4" (116.7 x 89.4 cm)
Matta, Vertigo of Eros, 1944
Matta, An oil on canvas, the 1944 "La revolte des contraires" is
a vortex of canary yellow rhomboids, rippled by undulating
black lines and pocked by eruptions of prismatic colors.
Vertigo of Eros, 1944 Roberto Matta (Chilean, 1911–2002)The
Vertigo of Eros Date:1944Medium:Oil on canvasDimensions:6'
5" x 8' 3" (195.6 x 251.5 cm)Credit Line:Given anonymously
MoMA Number:65.1944
23
Ernst, The Barbarians, 1937

66. (Met Museum)
24
The Barbarians, 1937 Max Ernst (French, born Germany,
1891ﾐ 1976)Oil on cardboard9 1/2 x 13 in. (24 x 33
cm) Jacques and Natasha Gelman Collection, 1998
(1999.363.21) MET MUSEUM ｩ 2011 Artists Rights Society
(ARS), New York / ADAGP, Paris
Ernst, Europe after the Rain, 1940-42
(Wadsworth Atheneum, Hartford)
25
Ernst Europe after the Rain 1940-42 : : Oil on canvas : 1 ft 9
1/2 in x 4 ft 10 1/4 in Wadsworth Atheneum, Hartford,
Connecticut.
Peggy Guggenheim’s residence, NYC, 1942
Left to right front: Stanley William Hayter, Leonora
Carrington, Frederick Kiesler, Kurt Seligmann Middle: Max
Ernst, Amédée Ozenfant, André Breton, Fernand Léger,
Berenice Abbott Back: Jimmy Ernst, Peggy Guggenheim, John
Ferren, Marcel Duchamp, Piet Mondrian
26
Left to right front: Stanley William Hayter, Leonora Carrington,
Frederick Kiesler, Kurt Seligmann Middle: Max Ernst,
Amédee Ozenfant, Andre Breton, Fernand Leger, Berenice

67. Abbott Back: Jimmy Ernst, Peggy Guggenheim, John Ferren,
Marcel Duchamp, Piet Mondrian (Photographer unknown
(MB))
Peggy Guggenheim sitting in Art of This Century Gallery, 1942-
7
(space designed by Frederick Kiesler)
27
Marguerite "Peggy" Guggenheim (August 26, 1898 – December
23, 1979) was an American art collector, bohemian and
socialite. Born to a wealthy New York City family, she was the
daughter of Benjamin Guggenheim, who went down with the
Titanic in 1912, and the niece of Solomon R. Guggenheim, who
would establish the Solomon R. Guggenheim Foundation. Peggy
Guggenheim created a noted art collection in Europe and
America primarily between 1938 and 1946. She exhibited this
collection as she built it and, in 1949, settled in Venice, where
she lived and exhibited her collection for the rest of her life.
Art of This Century Gallery, 1942-7
28
A few days before the Germans reached Paris, Peggy
Guggenheim had to abandon her plans for a Paris museum, and
fled to the south of France, from where, after months of
safeguarding her collection and artist friends, she left Europe
for New York in the summer of 1941. There, in the following
year, she opened a new gallery which actually was in part a
museum. It was called The Art of This Century Gallery. Three

68. of the four galleries were dedicated to Cubist and Abstract art,
Surrealism and Kinetic art, with only the fourth, the front room,
being a commercial gallery.
Peggy Guggenheim and Jackson Pollock in front of Pollock's
Mural, 1943
c. 1944
29
Museum of Non-Objective Painting,
East 54th Street, New York
1939-1947
This installation is based upon the galleries of the original
Museum of Non-Objective Painting, which Solomon R.
Guggenheim and Hilla Rebay, his personal curator and the
museum's first director, opened on East 54th Street in
Manhattan in 1939. The spaces of the former automobile
showroom had been transformed by architect William
Muschenheim under Rebay's direction. Rebay, who was also a
painter, believed passionately in abstract painting's spiritual
power. Thus, she set out to create an environment for art that
would allow its metaphysical qualities to be best experienced.
Quite unlike the Museum of Modern Art, whose collections and
new International Style building emphasized the relationship
between Modern art and society, the Museum of Non-Objective
Painting reflected Rebay's desire to create a setting that would
make visitors feel as though they had entered another world.
The interior walls and windows of the museum were covered in
pleated gray velour, shutting out the exterior world. Paintings

69. were set like altarpieces in wide, gilded frames and hung as low
as a few inches from the floor, which forced viewers to orient
themselves to the artworks positions. To enhance her vision of a
temple for modern painting, Rebay played classical music on a
phonograph, which echoed throughout the museum. In 1947, the
museum moved to a townhouse at 1071 Fifth Avenue. That
building was demolished when construction began in 1956 for
the new museum which by that time had been renamed the
Solomon R. Guggenheim Museum designed by Frank Lloyd
Wright.
30
Museum of Non-Objective Painting (interior)
MNOP c. 1940
31
Whitelaw Reid House (Villard Houses)
Madison Ave., N.Y.C., ca. 1910-1915
32
Whitelaw Reid's Home, N.Y.C. (LOC)Bain News Service,,
publisher .Whitelaw Reid House, Madison Ave., N.Y.C., ca.
1910-1915
designed by Marcel Duchamp

70. 33
ﾒ FIRST PAPERS OF SURREALISMﾓ 1942 ART EXHIBIT
CATALOGUE7 ¼ﾓ x 10 ½ﾓ soft cover with 52 pages for
exhibit held on Madison Avenue in New York City from
October 14 to November 7, 1942 by Coordinating Council of
French Relief Societies, Inc. Stapled wraps as issued. Front and
back covers designed by Duchamp with stone barn wall with
die-cut bullet holes on front cover and Swiss cheese on back
cover.The famous ﾒ Boatload of Madmenﾓ as the French
surrealists became known, organized a landmark exhibit of their
work and writings for which this was the catalogue. A cross-
section of text and images with forward by Sidney Janis. Text
article ﾒ Explorers of the Pluriverseﾓ by R. A. Parker has a
paragraph devoted to pulp stories by Clark Ashton Smith.
Nicely illustrated catalogue includes panel from a 1942
Superman comic book showing Superman flying with Lois Lane.
Examples of art with artistﾕ s photos include: Alexander Calder,
Max Ernst, Marcel Duchamp, Joan Miro, Roberto Matta, and
photos include Pablo Picasso, Father Divine, and more. An
important document of an early Surrealist exhibit. Generally in
very good condition.
Duchamp, Sixteen Miles of String (his twine), 1942
(“First Papers of Surrealism” exhibition)
Anne Sinclair, wife of Dominique Strauss-Kahn (pictured
together), is the granddaughter of Paul Rosenberg,
Marcel Duchamp, Boîte-en-valise, 1935-41

71. 35
SSalvador Dali,
The Persistence of Memory, 1931
Bought by dealer Julien Levy and donated to MoMA
36
Joan Miró The Hunter (Catalan Landscape)Montroig, July 1923-
winter 1924 On viewThe Museum of Modern Art,Floor 3,
Exhibition GalleriesMediumOil on canvasDimensions25 1/2 x
39 1/2" (64.8 x 100.3 cm)CreditPurchaseObject
number95.1936Copyright© 2019 Successió Miró / Artists
Rights Society (ARS), New York / ADAGP, Paris
Dali, Lobster Telephone, 1936
Dali Lobster Telephone 1936 The aspect of paranoia that Dalí
was interested in and which helped inspire the method was the
ability of the brain to perceive links between things which
rationally are not linked. Dalí described the paranoiac-critical
method as a "spontaneous method of irrational knowledge based
on the critical and systematic objectivity of the associations and
interpretations of delirious phenomena."
Employing the method when creating a work of art uses an
active process of the mind to visualize images in the work and
incorporate these into the final product. An example of the
resulting work is a double image or multiple image in which an
ambiguous image can be interpreted in different ways.André

72. Breton (by way of Guy Mangeot) hailed the method, saying that
Dalí's paranoiac-critical method was an "instrument of primary
importance" and that it "has immediately shown itself capable
of being applied equally to painting, poetry, the cinema, the
construction of typical Surrealist objects, fashion, sculpture, the
history of art, and even, if necessary, all manner of
exegesis."[1]
37
Dalí, Venus de Milo with Drawers, 1936
Dalí,
The Anthropomorphic Cabinet, 1936
Salvador Dalí Venus de Milo with Drawers, 1936 Painted
plaster with metal pulls and mink pompons
38 5/8 x 12 3/4 x 13 3/8 in. (98 x 32.5 x 34 cm) Through prior
gift of Mrs. Gilbert W. Chapman, 2005.424 AIC
“Chest of Drawers”!!!!
38
Salvador Dali, Mae West's Face which May be Used as a
Surrealist Apartment,
1934-1935 (AIC)
Salvador Dali,Mae West's Face which May be Used as a
Surrealist Apartment, 1934-1935
Gouache, with graphite, on commercially printed magazine
paper
11 1/10 × 7 in
28.3 × 17.8 cm

73. © Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights
Society (ARS), New York, 2014
Art Institute of Chicago
Salvador Dalí
Spanish, 1904-1989
Mae West's Face which May be Used as a Surrealist Apartment,
1934–35
39
Salvador Dalí, Shirley Temple, The Youngest, Most Sacred
Monster of the Cinema in Her Time, 1939 (Boijmans,
Rotterdam)
Salvador Dalí, Shirley Temple, The Youngest, Most Sacred
Monster of the Cinema in Her Time 1939
Gouache, pastel and collage on cardboard 75 cm × 100 cm (30
in × 39 in) Museum Boijmans Van Beuningen, Rotterdam
bout Shirley Temple, le plus jeune monstre sacré du cinéma de
son temps
Shirley Temple was a popular child star in the 1930s. In this
fantasy image of the Hollywood starlet, Dalí has collaged her
head, taken from a magazine, onto the body of a lion. He has
transformed her into a modern sphinx, who devours her public.
40
Dalí, Autumnal Cannibalism, 1936 (Tate Modern)
Salvador Dalí (1904‑1989 ) Autumnal Cannibalism 1936 Oil
paint on canvass upport: 651 x 651 mm frame: 898 x 899 x 85
mm Tate Modern Painted just after the outbreak of the Spanish
Civil War in 1936, this work shows a couple locked in a

74. cannibalistic embrace. They are pictured on a table-top, which
merges into the earthy tones of a Spanish landscape in the
background. The conflict between countrymen is symbolised by
the apple balanced on the head of the male figure, which refers
to the legend of William Tell, in which a father is forced to
shoot at his son.
41
Dali, Soft Construction with Boiled Beans [Premonition of Civil
War], 1936 (PMA)
Soft Construction with Boiled Beans (Premonition of Civil War)
Made in Spain, Europe 1936 Salvador Dalí, Oil on canvas39
5/16 x 39 3/8 inches (99.9 x 100 cm) The Louise and Walter
Arensberg Collection, 1950 Phildealphia Museum
With its flair for detail as gruesome as it is meticulous,
Salvador Dalí's Surrealist painting style might well have been
invented for the depiction of the unique horrors of the Spanish
Civil War. This painting, however, is one of only a handful in
which Dalí turned his attention to the tragedy that beset his
homeland on July 17, 1936, when General Francisco Franco led
a military coup d'état against the democratically elected Popular
Front government. The artist's savage vision of his country as a
decomposing figure tearing itself apart preceded the outbreak of
the Spanish Civil War and thus prophetically foretold the
atrocities committed during this bloody conflict.
42
Dali, Soft Construction with Boiled Beans (Premonition of Civil
War), 1936
After Francisco Franco's victory in Spain, Guernica was sent to
the United States to raise funds for Spanish refugees. . . . At

75. Picasso's request the safekeeping of Guernica was then
entrusted to the Museum of Modern Art, and it was his
expressed desire that the painting should not be delivered to
Spain until liberty and democracy had been established in the
country.
Soft Construction with Boiled Beans (Premonition of Civil War)
Made in Spain, Europe 1936 Salvador Dalí, Oil on canvas39
5/16 x 39 3/8 inches (99.9 x 100 cm) The Louise and Walter
Arensberg Collection, 1950 Phildealphia Museum
With its flair for detail as gruesome as it is meticulous,
Salvador Dalí's Surrealist painting style might well have been
invented for the depiction of the unique horrors of …
AGNY 2020
Study Pack # 5
Rousseau, The Sleeping Gypsy, 1897
Girl with Pigeons Morris Hirshfield (American, born Poland.
1872-1946)1942. Oil on canvas, 30 x 40 1/8" (76.1 x 101.7 cm).
The Sidney and Harriet Janis Collection. ｩ 2011 Estate of
Morris Hirshfield/Licensed by VAGA, New York, NY610.1967
MoMA
2
John Kane,
Self-Portrait, 1929
Horace Pippin,
Self-Portrait, 1941

76. 3
John Kane (1860-1934), Self-portrait, 1929, American. Oil on
canvas over composition board. 91.7 × 68.8 cm. Courtesy of
The Museum of Modern Art, New York, NY
Horace PIPPIN, Self-P. 1941.
1932: MoMA: American Folk Art: The Art of the American
Common Man
Abby Aldrich Riockefgeller Fola art ends up at the Abby Ald
Rock, Muyseum of Folk art n Williamsburg
Museum of Americam Folk Art: will it survive?
Kane's 1929 Selfﾐ Portrait is considered one of the artist's
masterpieces. The portrait is both a shockingly realistic
depiction of the male bodyﾑ veins, chest hair, and allﾑ and an
object meant for decorative display, with a frame indicated
around the image edges and painted arches defining the figure's
head. Like other selfﾐ taught artists in this exhibition, Kane
produced most of his work in a concentrated period of timeﾑ the
last seven years of his life.
In 1891, while he was walking along the B&O railroad tracks,
an engine running without its lights struck down Kane, severing
his left leg 5ﾊ inches below the knee. He was fitted with an
artificial limb, and his disability landed him a new job with the
B&O as a watchman. He was a watchman for eight
years.[edit]Begins as a painterHe left his watchman job to paint
steel railroad cars at the Pressed Steel Car Company in McKees
Rocks, Pennsylvania, on the Ohio River just south of downtown
Pittsburgh. He began to draw on the side of railroad cars on his
lunch hour to "fill in the colors". His sketched landscapes
disappeared after lunch beneath the standard, solid color of the
railroad car paint. For a short time he tried to earn money by

77. enlarging and tinted photographs for working-class
families.Kane had married Maggie Halloran in 1897 at St.
Mary's Catholic Church in downtown Pittsburgh. The death of
an infant son in 1904 led him into a vortex of drinking and
depression, which caused long periods of wandering, during
which he worked as an itinerant house painter and carpenter. In
Akron, Ohio in 1910 he first began to do pictorial paintings on
discarded boards from construction sites. By the end of World
War I, Kane was again in Pittsburgh, where he spent the
remainder of his life. He remained separated from his wife and
children.In both 1925 and 1926 he submitted paintings to the
Carnegie Internationals sponsored by the Carnegie Museum of
Art, but the works were rejected. The next year, however, Kane
found a champion in painterﾐ juror Andrew Dasburg, who
persuaded the jury to accept Kaneﾕ s Scene in the Scottish
Highlands (Carnegie Museum, Pittsburgh).[2] The story of the
untrained 67-year-old painter's success was trumpeted by the
newspapers. The publicity around the show came to the notice
of Kane's wife, who was living in West Virginia, and with
whom he'd lost contact for over ten years. They reconciled and
remained together during the last years of his life.When it was
discovered that he had painted over discarded photographic
images, purely for financial reasons, he was hounded by
newspapers and unsuccessful artists who claimed him a sham.
Kane continued to paint his primitive landscapes and self-
portraits, including his famous Self-portrait (1929) in the
collection of MoMA, New York. He had his first New York one-
man show in 1931.John Kane died of tuberculosis on August 10,
1934 and is interred at Pittsburgh's Roman Catholic Calvary
Cemetery.
Matisse, Nude in the Wood, 1906
shown at “291,” April 1908

78. Matisse, Henri (1869-1954) – 1906 Nude in the Wood,
Brooklyn Museum, Oil on board mounted on panel16 x 12 ¾
ptd. At Collioure summer 1906
Lone oil 291: Matisse show April 1908
Matisse Watercolors at 291: April 1908, first Matisse show in
America; organized by Steichen, whom Sarah St. had
introrduced to Matisse in Paris Steichen: new game in NY
society “Matisse”: each guest given some watercolors and they
see who can make the most bizarre concoction”
Huh? What Matisse watercolors—I don’t know them!!?
4
Picasso, Les Demoiselles d’Avignon, 1907
5
Four Seasons Restaurant
The artist Mark Rothko was engaged to paint a series of works
for the restaurant in 1958. Accepting the commission, he
secretly resolved to create "something that will ruin the appetite
of every son-of-a-bitch who ever eats in that room." Observing
the restaurant's pretentious atmosphere upon his return from a
trip to Europe, Rothko abandoned the project altogether,
returned his advance and kept the paintings for himself. The

79. final series was dispersed and now hangs in three locations:
London’s Tate Gallery, Japan’s Kawamura Memorial Museum
and the National Gallery of Art in Washington, D.C.[6] During
the period in which Rothko worked on his murals, the Four
Seasons rented Jackson Pollock's masterpiece Blue Poles from
its then-owner, art collector Ben Heller.[7][8] John Logan's
Tony Award-winning 2010 play Red dramatizes Rothko's time
working on the Seagram Murals.
6
Rothko, The Seagram Murals, 1958
(Tate Modern, London)
Rothko room at Tate Modern. Rothko never devised a ‘final’
scheme for The Four Seasons restaurant. His studio assistant,
Dan Rice, recalls that Rothko ‘was very reflective, gathering all
the paintings together again and jumbling them up. It would be
very difficult to say that one was intended as part of the murals
and one was not’. Rather than speculate about the scheme for
the Four Seasons, the murals are presented here as Rothko’s
first series, in which each work from its very inception enters
into a direct dialogue with its counterparts. Within a
comparatively narrow compositional scheme, Rothko
experimented with varying permutations of the floating ‘frame’
and its background, different surface treatments and the use of
vibrant and sombre colour.
Though The Four Seasons offered space for only seven murals,
Rothko eventually executed thirty canvases. For his
retrospective at the Museum of Modern Art, New York in 1961
he identified five of these as Mural Sections 2–5 and Mural
Section 7. These are displayed here in consecutive order. The

80. other canvases on view are similar in format and degree of
finish, the only exception being the two narrow landscape
formats which were originally intended to be hung above the
dining room’s folding doors.
7
Hofmann, 1948, HofmanHofmann, 1948, n, 1948, H
“Color stimulates certain moods in us. It awakens joy or fear. . .
. In fact, the whole world, as we experience it visually, comes
to us through the mystic realm of color. Our entire being is
nourished by it.”
Hofmann, Search for the Real, 1948
“Depth, in a pictorial, plastic sense, is not created by the
arrangement of objects one after another towards a vanishing
point, as in the sense of Renaissance perspective, but . . . by the
creation of forces in the sense of push and pull.” in a pictorial,
plastic sense, is not created by the arrangement of creation of
forces in tHofmann, Search for the Real, 1948 of push and pull”
Search for the Real and Other Essays, `948
9
H. Hofmann,
Push and Pull, 1950
1950

81. Hofmann/Sert & Wiener, Chimbote display, “The Muralist and
the
Modern Architect,” Kootz Gallery, NYC, 1950
Lescaze, 711 Third Avenue, NYC, 1956: between 44th and 45th
Streets
H. Hofmann, 711 Third Ave. mural, 1956
Mosaic work by Foscati Co.
H. Hofmann, 711 Third Ave. mural, 1956

82. H. Hofmann, 711 Third Ave. mural, 1956
H. Hofmann, 711 Third Ave. mural, 1956
H. Hofmann, New York School of Printing mural, 1957 (439
West 49th Street)
Bernard (Tony) Rosenthal, Alamo, 1967
Alamo in 2010ArtistBernard (Tony) Rosenthal Year 1967
Type Painted CorTen SteelDimensions 4.6 m × 4.6 m × 4.6 m
(15 ft × 15 ft × 15 ft)Location Astor Place, Lafayette Street and
8th Street, New York City
21
Noguchi,
Red Cube, 1968
Minimal Art (Minimalism)
While his career flourished from the 1920s through to his death
in 1988, Noguchi’s initial submissions for the Public Works of

83. Art Program were declined. Red Cube, however, was accepted
and installed in 1968.
22
Noguchi,
Red Cube, 1968
Isamu Noguchi, News, 1940
(Associated Press Bldg.)
While his career flourished from the 1920s through to his death
in 1988, Noguchi’s initial submissions for the Public Works of
Art Program were declined. Red Cube, however, was accepted
and installed in 1968.
23
Robert Rauschenberg,
Erased de Kooning Drawing, 1953
(SF MoMA)
24
Robert Rauschenberg American (Port Arthur, Texas, 1925 -
2008, Captiva, Florida) Erased de Kooning Drawing 1953
drawing | traces of ink and crayon on paper, mat, label, and
gilded frame . Collection SFMOMA, Purchase through a gift of
Phyllis C. Wattis; © Robert Rauschenberg Foundation /
Licensed by VAGA, New York, NY; photo: San Francisco
Museum of Modern Art It was not exhibited in public until
1963, but Rauschenberg would show it to visitors to his studio,
and it became well known.

84. 25 1/4 in. x 21 3/4 in. x 1/2 in. (64.14 cm x 55.25 cm x 1.27 cm)
Acquired 1998
Collection SFMOMA
Purchase through a gift of Phyllis Wattis
© Estate of Robert Rauschenberg / Licensed by VAGA, New
York
98.298
Rauschenberg,
Untitled (Red Painting),
ca. 1953
RR Untitled (Red Painting), ca. 1953. Oil, fabric, and
newspaper on canvas, with wood, 79 × 33 1/8 inches (200.7 ×
84.1 cm). Solomon R. Guggenheim Museum, New York, Gift,
Walter K. Gutman 63.1688 Art © Robert Rauschenberg
Foundation/Licensed by VAGA, New York, NY
25
Rauschenberg,
Untitled Collage, 1952
Rauschenberg,
Untitled Collage, 1952

85. 26
RR Unitlted collages, 1952
Rauschenberg, Untitled, 1952
27
RR Untitled, 1952 Menil
Rauschenberg, Untitled, c. 1953
28
Robert Rauschenberg: Untitled, c. 1953. Wood box with lid and
removable balsa wood-and-fabric cube, Box with lid 7 1/8 x 7
1/8 x 7 1/8" (18 x 18 x 18 cm), cube 5 5/8 x 5 5/8 x 5 5/8" (14.2
x 14.2 x 14.2 cm). Collection Museum of Modern Art, New
York.
c. 1953. Wood box with lid and removable balsa wood-and-
fabric cube.
Rauschenberg, Bantam, 1954
29
Bantam11 5/8 x 14 5/8 in. 29.6 x 37.3 cm.combine painting: oil,
paper, printed reproductions, cardboard, fabric and pencil on

86. canvas
Sotheyby’s 11/8/2008: 2, 250,000.00
Judy Garland was and is the high priestess of gay culture, the
queen diva of all time. Her inclusion in this and other combines
of the period (like Bantam of 1954) (Fig. 6) directly alludes for
the first time in Rauschenberg's work to his identification as a
gay man...What references there are to gay culture tend to be
complex and indirect. For example, "Bantam" includes a team
portrait of the New York Yankees spattered with Abstract
Expressionist paint which is then juxtaposed with delicate
fabric swatches, a nineteenth-century nude odalisque staring at
herself in a mirror, and another autographed photo of Judy
Garland. While the presence of Garland alone was curious
enough, the reference was coupled with a peculiar title.
According to Webster's Dictionary, "bantam" means "a small
but aggressive or pugnacious person; 2. any of several breeds of
small fowl in which the male is often a good fighter; 3. a boxer
or wrestler weighing between 113 and 118 pounds." In short,
bantam refers to an over-wrought, overacted masculinity--a kind
of nervous overcompensation for a perceived lack. Here the
gestural paint splashed over the Yankees photo, coupled with a
curious title, seems to deliver a highly coded, campy indictment
of Abstract Expressionism and its self-conscious and
exaggerated masculinity. Such a reading is reinforced by the
odalisque looking at herself in a mirror, and the star photograph
of Judy Garland.
Rauschenberg, Odalisk, 1955-8
(Museum Ludwig, Cologne)
30
1955/1958 Combine: oil, watercolor, pencil, crayon, paper,
fabric, photographs, printed reproductions, miniature blueprint,

87. newspaper, metal, glass, dried grass, and steel wool with pillow,
wood post, electric lights, and rooster on wood structure
mounted on four casters 83 x 25 1/4 x 25 1/8 inches(210.8 x
64.1 x 63.8 cm) Museum Ludwig, Cologne Ludwig Donation
RR & JJ
31
When they finally split up in 1961, the after-effects were so
powerful that both artists left New York for their native South,
changed their pictorial styles radically, and neither saw nor
spoke to one another for a decade or more (Fig. 1) Given the
intensity of this relationship, it comes as something of a shock
to realize that Johns has never spoken of it, and Rauschenberg
has addressed it but a few times, and then only cursorily. His
most open and direct acknowledgment of his life with Johns
occurs in the following interview:RR: I'm not frightened of the
affection that Jasper and I had, both personally and as working
artists. I don't see any sin or conflict in those days when each of
us was the most important person in the other's life.Interviewer:
Can you tell me why you parted ways?RR: Embarrassment about
being well known.Interviewer: Embarrassment about being
famous?RR: Socially. What had been tender and sensitive
became gossip. It was sort of new to the art world that the two
most well-known, up and coming studs were affectionately
involved.While to a greater or lesser degree both artists have
resisted further elaborations on this relationship, their art offers
a number of interesting clues.. and Johns cultivated their most
lasting contributions to American art. And it is because of this
joint opposition, and the work it generated, that they have been
branded a two-person movement.Most critics agree that Johns
and Rauschenberg's finest work grew out of the period between
1954 and 1961, a time of intense emotional involvement during
which they searched together for an alternative to Abstract

88. Expressionist picturemaking. Rauschenberg once remarked of
this moment, "We gave each other permission." The statement
demands to be taken seriously both in terms of constraints on
artistic innovation and constraints on homosexual desire, for in
the lives of these men, as we shall see, the two were correlated.
It was winter of 1953 when Rauschenberg first met Jasper
Johns, although both had moved to New York in 1949.
Rauschenberg, who was born in 1925 and grew up in Port
Arthur, Texas, arrived after two years' draft in the navy and
four more years trying out various art schools from Kansas City
to Paris to North Carolina. Johns, born in 1930, moved to New
York from his native South Carolina in order to attend
commercial art school, but his story was interrupted by the draft
and he spent two years in the army, returning to the city in
1952. He got a job at the Marboro bookstore, unsure of whether
he was working toward becoming a poet or a painter. Visiting at
Black Mountain College, North Carolina, he was introduced to
Rauschenberg by a mutual friend, the artist and art writer Suzi
Gablik, who had known Rauschenberg at school. They met again
later at an artist's party and struck up a friendship.
Rauschenberg and Johns began to see more of one another.
Rauschenberg convinced Johns to quit his job at the bookstore
and join him in doing window designs for department stores.
They worked together under the name Matson-Jones, and they
were quite successful. In 1955, Rauschenberg moved from his
Fulton Street studio into John's building on Pearl Street and
then they moved together again to a space on Front St.
Rauschenberg, Bed, 1955
“Painting relates to both art and life. [Neither can be made.] I
try to act in that gap between the two.” (1959)
32

89. RR Bed, 1955Bed is one of Rauschenberg’s first “combines,”
the artist’s term for his technique of attaching found objects,
such as tires or old furniture, to a traditional canvas support. In
this work, he took a well-worn pillow, sheet, and quilt,
scribbled on them with pencil, and splashed them with paint in a
style similar to that of Abstract Expressionist “drip” painter
Jackson Pollock. Legend has it that these are Rauschenberg’s
own pillow and blanket, which he used when he could not afford
to buy a new canvas. Hung on the wall like a traditional
painting, his bed, still made, becomes a sort of intimate self-
portrait consistent with Rauschenberg’s assertion that “painting
relates to both art and life…[and] I try to act in that gap
between the two.”
Johns,
Target with
Plaster Casts, 1955
33
JJ Target with Plaster Casts, pvt. Coll Artist: Jasper Johns
Artist's Lifespan: 1930-
Title: Target with Plaster Casts
Date: 1955
Location of Origin: United States
Medium: Mixed media
Original Size: 51 x 44 in
Style: Neo-Dadaism
Genre: Common artifacts
Location: Leo Castelli Gallery, New York
Johns, False Start, 1959

90. 34
False Start. 1959
Oil on canvas
67 1/4 x 54" (170.8 x 137.2 cm)
Collection David Geffen, Los Angeles
© 1996 Jasper Johns/Licensed by VAGA, New York, NY
Johns,
Painting with Two Balls, 1960
35
Johns,Painting with two balls, 1960
Johns, In Memory of My Feelings - Frank O'Hara, 1961
36
n Memory of My Feelings - Frank O'Hara, 1995, Jasper Johns,
Oil on canvas with objects, 40-1/4&nbspx 60 x 2-7/8 inches
(102.2 x 152.4 x 7.3 cm), Museum of Contemporary Art,
Chicago, IL In Memory of My Feelings - Frank O'Hara, 1961,
Art Institute of Chicago
Johns, Periscope (Hart Crane), 1963

91. Periscope (Hart Crane). 1963
Oil on canvas
67 x 48" (170.2 x 121.9 cm)
Collection the artist
© 1996 Jasper Johns/Licensed by VAGA, New York, NY
37
Fernand Léger,
Portrait of A. E. Gallatin, 1931
38
Ferdinand Leger, Portrait of A. E. Gallatin, 1931
ink on paper, image: 7 3/8 x 5 3/4 inches
sheet: 8 15/16 x 6 3/16 inches
National Portrait Gallery, Smithsonian Institution
“Here is a picture I took the first day I moved in — a rainy day
full of atmosphere.” K
André Kertesz,
Rooster, 1952
39
André Kertész | Rooster, New York, 1952
André Kertesz,
Washington Square Park, New York City, 1962

92. André Kertesz,
Washington Square Park, Winter, 1966
40
Andr� Kert市zWashington Square, Winter, 1966Gelatin silver
printSigned and dated in pencil with estate stamp on verso
A Concert of Dance Nos. 14, 15, 16,
by Robert Morris
New York: Judson Dance Theater, 1964
Size: 16 x 13 inches = 41 x 33 cm
MoMA A Concert of Dance Nos. 14, 15, 16, by Robert Morris.
New York: Judson Dance Theater, 1964
41
Allan Kaprow,
“The Legacy of Jackson Pollock,” ARTnews (1958)
42

93. AGNY Study Pack # 4
Kenneth Hayes Miller,
The Fitting Room, 1931
2
Kenneth Hayes Miller,
Bargain Hunters, 1940
3
Isabel Bishop, Hearn's Department Store, 1927
4
Isabel Bishop, Dante and Virgil in Union Square, 1932

94. 5
Edward Laning, Fourteenth Street, 1931
6
Reginald Marsh,
Tattoo and Haircut, 1932
7
Marsh, Hudson Bay Fur Company, 1932
8
Walker Evans,
Many Are Called, 1938-41
a three-year photographic study of people on the New York
subway

95. 9
Mark Rothko,
Subway, 1939-40
George Tooker,
The Subway, 1950
(Whitney Museum)
10
Hopper, Chop Suey, 1929
11
Edward Hopper, Automat, 1927
12