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136-698: Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or . Laurencin was born in Paris, where she was raised by her mother and lived there for much of her life. At 18, she studied porcelain painting in Sèvres . She then returned to Paris and continued her art education at

272-727: A 17,000 sq ft (1,600 m ) lot at 53 West 53rd Street west of its existing building, sold it to developer Gerald D. Hines for $ 125 million in January 2007. Hines planned to build a skyscraper called Tower Verre on the site. Work on the tower was delayed because of a lack of funding following the Great Recession . In 2010, MoMA completed its merger with the P.S. 1 Contemporary Art Center in Long Island City, New York , formally renaming it as MoMA PS1 . In 2011, MoMA acquired an adjacent building that housed

408-694: A capacity audience on April 23, 1974), various TV commercials, and Chris Cunningham 's music video for Björk 's All Is Full of Love . The MoMA library is located in Midtown Manhattan, with offsite storage in Long Island City, Queens. The noncirculating collection documents modern and contemporary art, including painting, sculpture, prints, photography, film, performance, and architecture from 1880–present. The collection includes 300,000 books, 1,000 periodicals, and 40,000 files about artists and artistic groups. Over 11,000 artist books are in

544-515: A casual, snapshot-like look and subject matter so apparently ordinary that it was hard to categorize". Under Szarkowski, it focused on a more traditionally modernist approach to the medium, one that emphasized documentary images and orthodox darkroom techniques. Peter Galassi (curator 1991–2011) worked under his predecessor, whereas Quentin Bajac (curator 2013–2018) was hired from the outside. The current David Dechman Senior Curator of Photography

680-529: A gauge against which such diverse tendencies as Realism or Naturalism , Dada , Surrealism and abstraction could be compared. Japan and China were among the first countries in Asia to be influenced by Cubism. Contact first occurred via European texts translated and published in Japanese art journals in the 1910s. In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at

816-413: A genre or style in art with a specific common philosophy or goal. A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with

952-569: A key role in its expansion and publicity. His brother, David Rockefeller , joined the board in 1948 and continued the family's close association with the museum. Significant events during this period included a major fire in 1958, which destroyed a painting by Claude Monet and led to the evacuation of other artworks. The museum's architectural evolution also continued, with a redesign of the sculpture garden by Philip Johnson and relocation to its current home designed by Philip L. Goodwin and Edward Durell Stone , which opened in 1939. In later decades,

1088-719: A much broader ideological transformation towards conservatism in both French society and French culture . The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg , Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris . Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and Emilio Pettoruti while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during

1224-419: A new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category. Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as

1360-501: A new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval ( Woman with a horse , 1911–1912, National Gallery of Denmark ). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce ( The Wedding , Musée National d'Art Moderne, Paris), were also exhibited. In 1912, Galeries Dalmau presented

1496-560: A new annex designed by Diller Scofidio + Renfro, and in the existing building, as well as expanded lobbies. In June 2017, the first phase of the $ 450 million expansion was completed. Spread over three floors of the art mecca off Fifth Avenue are 15,000 square-feet (about 1,400 m ) of reconfigured galleries, a new, second gift shop, a redesigned cafe and espresso bar, and facing the sculpture garden, two lounges graced with black marble quarried in France. The museum expansion project increased

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1632-526: A new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque , Le Chahut and Le Cirque ),

1768-526: A painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. The Section d'Or , also known as Groupe de Puteaux , founded by some of

1904-491: A purely formal frame of reference. Crystal Cubism, and its associative rappel à l'ordre , has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to

2040-532: A secondary or satellite role in Cubism is a profound mistake." The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay: The critical use of

2176-632: A series entitled Formes Circulaires , in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms , giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of

2312-465: A significant renovation, nearly doubled MoMA's space for exhibitions and programs. The 2000s saw the formal merger with the P.S. 1 Contemporary Art Center , and in 2019, another major renovation added significant gallery space. In 2022, MoMA was the 17th most-visited art museum in the world and the 4th most-visited museum in the United States. MoMA's collection spans the late 19th-century to

2448-493: A specifically feminine aesthetic by her use of pastel colors and curvilinear forms. Originally influenced by Fauvism , she simplified her forms through the influence of the Cubist painters. From 1910, her palette consisted mainly of grey, pink, and pastel tones. Her distinctive style developed upon her return to Paris in the 1920s post exile. The muted colours and the geometric patterns inherited from Cubism were replaced by light tones and undulating compositions. Her signature motif

2584-534: A time when both artists had recently acquired an interest in primitivism , Iberian sculpture, African art and African tribal masks . They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism , as notably seen in Les Demoiselles d'Avignon ,

2720-400: A wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in

2856-409: A wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it

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2992-463: Is Roxana Marcoci, PhD. In 1932, museum founding director Alfred Barr stressed the importance of introducing "the only great art form peculiar to the 20th century" to "the American public which should appreciate good films and support them". Museum Trustee and film producer John Hay Whitney became the first chairman of the museum's Film Library from 1935 to 1951. The collection Whitney assembled with

3128-613: Is an art museum located in Midtown Manhattan , New York City, on 53rd Street between Fifth and Sixth Avenues . The institution was conceived in 1929 by Abby Aldrich Rockefeller , Lillie P. Bliss , and Mary Quinn Sullivan . Initially located in the Heckscher Building on Fifth Avenue, it opened just days after the Wall Street Crash . The museum, America's first devoted exclusively to modern art,

3264-415: Is difficult to apply to painters such as Jean Metzinger , Albert Gleizes, Robert Delaunay and Henri Le Fauconnier , whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins , "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to

3400-428: Is known as one of the few female Cubist painters, with Sonia Delaunay , Marie Vorobieff , and Franciska Clausen . While her work shows the influence of Cubist painters Pablo Picasso and Georges Braque , who was her close friend, she developed a unique approach to abstraction which often centered on the representation of groups of women and animals. Her work lies outside the bounds of Cubist norms in her pursuit of

3536-721: Is marked by willowy, ethereal female figures, and a palette of soft pastel colours, evoking an enchanted world. Art history professor Libby Otto said, "Marie Laurencin is of the 'lipstick lesbian' variety: She constructs this very soft, feminine world that really spoke to viewers at the time. And if you realize that, in her soft way, she's constructing a world without men, of female harmony, there's something pretty revolutionary in there as well." Laurencin continued to explore themes of femininity and what she considered to be feminine modes of representation until her death. Her works include paintings, watercolors, drawings, and prints. Laurencin's artistic accomplishments are seen in collections around

3672-531: Is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it." The most serious objection to regarding

3808-530: Is organized around six curatorial departments: Architecture and Design, Drawings and Prints, Film, Media and Performance, Painting and Sculpture, and Photography. The MoMA's holdings include more than 150,000 individual pieces in addition to roughly 22,000 films and 4 million film stills. (Access to the collection of film stills ended in 2002, and the collection is stored in a vault in Hamlin, Pennsylvania . ). The collection houses such important and familiar works as

3944-521: Is pushed to a high degree of complexity in Metzinger's Nu à la cheminée , exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing) , exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris , exhibited at the Indépendants in 1912. These ambitious works are some of

4080-479: Is regarded as one of the most important in the world. The Department of Photography was founded by Beaumont Newhall in 1940 and developed a world-renowned art photography collection under Edward Steichen (curator 1947–1961). Steichen's most notable and lasting exhibit, named The Family of Man , was seen by 9 million people. In 2003, the Family of Man photographic collection was added to UNESCO 's Memory of

4216-836: Is to help expand the collection and display of work by women, Latinos, Blacks, Asians, and other marginalized communities. In connection with the renovation, MoMA shifted its approach to presenting its holdings, moving away from separating the collection by disciplines such as painting, design, and works on paper toward an integrated chronological presentation that encompasses all areas of the collection. The Museum of Modern Art closed for another round of major renovations from June to October 2019. Upon reopening on October 21, 2019, MoMA added 47,000 square feet (4,400 m ) of gallery space, bringing its total floor area to 708,000 square feet (65,800 m ). The MoMA occasionally has sponsored and hosted temporary exhibition houses, which have reflected seminal ideas in architectural history. The MoMA

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4352-644: The American Folk Art Museum on West 53rd Street. The building had been completed in 2001 to designs by Tod Williams Billie Tsien Architects and was sold in connection with a financial restructuring of the Folk Art Museum. In January 2014, MoMA decided to raze the American Folk Art Museum, which was between MoMA's existing structure and the proposed tower at 53 West 53rd Street. The architectural community protested

4488-821: The Barnes Foundation in Philadelphia, the Hermitage Museum in St. Petersburg, and the Tate Gallery in London. Her work is also shown in the permanent collection of the Musée de l'Orangerie gallery in Paris, France, housing some of her most famous pieces. In 2023, the Barnes Foundation opened a retrospective of Laurencin's work, titled Marie Laurencin: Sapphic Paris. Cubism The movement

4624-412: The Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins . This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for

4760-514: The Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years). The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon. The group's title

4896-663: The My Lai Massacre . The MoMA had promised to fund and circulate the poster, but after seeing the 2-by-3-foot (0.61 m × 0.91 m) poster, MoMA pulled financing for the project at the last minute. MoMA's board of trustees included Nelson Rockefeller and William S. Paley (head of CBS), who reportedly "hit the ceiling" on seeing the proofs of the poster. The poster was included shortly thereafter in MoMA's Information exhibition of July 2 to September 20, 1970, curated by Kynaston McShine. In 1971, after protests outside

5032-699: The Rockefeller Guest House at 242 East 52nd Street was completed in 1950, some MoMA functions were held in the house until 1964. In 1937, MoMA had shifted to offices and basement galleries in the Time-Life Building in Rockefeller Center . Its permanent and current home, now renovated, designed in the International Style by the modernist architects Philip L. Goodwin and Edward Durell Stone , opened to

5168-640: The Salon des Indépendants (1910–1911) and the Salon d'Automne (1911–1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire , and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and lesbian writer Natalie Clifford Barney . She had relationships with men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons " providing

5304-589: The Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch . According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as

5440-411: The antecedent of Cubism. Art historian Douglas Cooper says Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it

5576-539: The boulevard du Montparnasse . These soirées often included writers such as Guillaume Apollinaire and André Salmon . Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color. Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing

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5712-473: The École nationale supérieure des Beaux-Arts , brought back with them both an understanding of modern art movements, including Cubism. Notable works exhibiting Cubist qualities were Tetsugorō Yorozu 's Self Portrait with Red Eyes (1912) and Fang Ganmin 's Melody in Autumn (1934). The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of

5848-770: The "Salle 41" artists, e.g., Francis Picabia ; the brothers Jacques Villon , Raymond Duchamp-Villon and Marcel Duchamp , who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group ); the sculptors Alexander Archipenko , Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens ; and painters such as Louis Marcoussis , Roger de La Fresnaye , František Kupka , Diego Rivera , Léopold Survage , Auguste Herbin , André Lhote , Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of

5984-546: The 1905 and 1906 Salon d'Automne , followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism , abstract art and later Purism . The impact of Cubism was far-reaching and wide-ranging in the arts and in popular culture. Cubism introduced collage as a modern art form. In France and other countries Futurism , Suprematism , Dada , Constructivism , De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism

6120-554: The 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie . It mirrored the attitudes of the "artists of Passy", which included Picabia and

6256-586: The 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do. Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest these works are easily

6392-483: The 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations. In Du "Cubisme" Metzinger and Gleizes explicitly related

6528-422: The 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude , were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows , followed by

6664-426: The 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as

6800-657: The 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson . In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism

6936-623: The 4th most-visited museum in the United States , and the third most-visited U.S. art museum. This attendance was 89 percent higher than in 2021, but still well below the pre-COVID attendance in 2019. The idea for the Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller , wife of John D. Rockefeller Jr. , and two of her friends, Lillie P. Bliss and Mary Quinn Sullivan . They became known variously as "the Ladies" or "the adamantine ladies". They rented modest quarters for

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7072-475: The Académie Humbert, where she changed her focus to oil painting . During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde . A member of both the circle of Pablo Picasso , and Cubists associated with the Section d'Or , such as Jean Metzinger , Albert Gleizes , Robert Delaunay , Henri le Fauconnier , and Francis Picabia , exhibiting with them at

7208-610: The Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg . Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with

7344-469: The Cubists. The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes , a collection of reflections and commentaries by Guillaume Apollinaire. Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp. The fact that

7480-523: The Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by

7616-662: The First World War. Léger was based in Montparnasse. In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near

7752-813: The German Film (1947), traces the birth of Nazism from the cinema of the Weimar Republic and helped lay the foundation of modern film criticism . Under the Museum of Modern Art Department of Film , the film collection includes more than 25,000 titles and ranks as one of the world's finest museum archives of international film art. The department owns prints of many familiar feature-length movies, including Citizen Kane and Vertigo , but its holdings also contains many less-traditional pieces, including Andy Warhol 's eight-hour Empire , Fred Halsted 's gay pornographic L.A. Plays Itself (screened before

7888-582: The MoMA was at the center of a controversy over its decision to withdraw funding from the iconic antiwar poster And Babies . In 1969, the Art Workers Coalition , a group of New York City artists who opposed the Vietnam War , in collaboration with Museum of Modern Art members Arthur Drexler and Elizabeth Shaw, created an iconic protest poster called And babies . The poster uses an image by photojournalist Ronald L. Haeberle and references

8024-596: The Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat . It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among

8160-519: The Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at

8296-505: The World Register in recognition of its historical value. Steichen's hand-picked successor, John Szarkowski (curator 1962–1991), guided the department with several notable exhibitions, including 1967s New Documents that presented photographs by Diane Arbus , Lee Friedlander , and Garry Winogrand and is said to have "represented a shift in emphasis" and "identified a new direction in photography: pictures that seemed to have

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8432-543: The adjacent Museum Tower, and mechanical spaces and equipment within the tower were added or relocated. MoMA reopened on November 20, 2004. The renovation received mixed reception. John Updike wrote in The New Yorker that the new structure "has the enchantment of a bank after hours, of a honeycomb emptied of honey and flooded with a soft glow", while Roberta Smith of The New York Times said MoMA had an "overly refined building, whose poor layout shortchanges

8568-443: The art dealer and collector Léonce Rosenberg . The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I —such as the fourth dimension , dynamism of modern life, the occult, and Henri Bergson 's concept of duration —had now been vacated, replaced by

8704-579: The art world with her brand of "queer femme with a Gallic twist." She had a forty years long love relationship with fashion designer Nicole Groult  [ fr ] . During the First World War , Laurencin left France for exile in Spain with her German-born husband, the artist, Baron Otto von Waëtjen, since through her marriage she had automatically lost her French citizenship. The couple subsequently lived together briefly in Düsseldorf . She

8840-432: The artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism ) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of

8976-490: The associate director and curator of prints and drawings at the Fogg Museum at Harvard University , was referred to in those days as a "collector of curators". Goodyear asked him to recommend a director, and Sachs suggested Alfred H. Barr Jr. , a promising young protégé . Under Barr's guidance, the museum's holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful loan exhibition

9112-414: The association of mechanization and modern life. Scholars have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism , a phrase coined by Juan Gris a posteriori , was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism , remained vital until around 1919, when

9248-454: The attention of the general public for the first time. Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R. Guggenheim Museum, New York). At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41 , were exhibited works by André Lhote , Marcel Duchamp , Jacques Villon, Roger de La Fresnaye , André Dunoyer de Segonzac and František Kupka . The exhibition

9384-503: The case of Still-life With Chair Caning , freely brushed oil paint and commercially printed oilcloth together on a canvas. The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais , to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal , 5 October 1912. The controversy spread to

9520-455: The collection. The libraries are open by appointment to all researchers. The library's catalog is called "Dadabase". Dadabase includes records for all of the material in the library, including books, artist books , exhibition catalogs , special collections materials, and electronic resources. The MoMA's collection of artist books includes works by Ed Ruscha , Marcel Broodthaers , Susan Bee , Carl Andre , and David Horvitz . Additionally,

9656-557: The controversial decision to withdraw funding from the antiwar poster " And Babies " in 1969, and the subsequent protests, highlighted the museum's involvement in contemporary sociopolitical issues. It was also among several institutions to aid the CIA in its efforts to engage in cultural propaganda during the Cold War . Major expansions in the 1980s and the early 21st century, including the selection of Japanese architect Yoshio Taniguchi for

9792-414: The critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne ] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of

9928-612: The design project for the expansion. Despite these expansion projects, MoMA's physical space had never been able to accommodate its growing collection. On June 14, 1984 the Women Artists Visibility Event (W.A.V.E.), a demonstration of 400 women artists, was held in front of the newly renovated Museum of Modern Art to protest the lack of female representation in its opening exhibition, "An International Survey of Recent Painting and Sculpture". The exhibition featured 165 artists; only 14 of those were women. By

10064-687: The end of the 20th century, MoMA had 100,000 objects in its collection, an increase from the 40,000 items it had in 1970. After the Dorset Hotel adjacent to the museum was placed for sale in 1996, MoMA quickly purchased it. The next year, the museum began planning a major renovation and expansion, selecting Japanese architect Yoshio Taniguchi in December 1997. The project nearly doubled the space for MoMA's exhibitions and programs, and features 630,000 square feet (59,000 m ) of space. Taniguchi's initial plan called for two structures, one each to

10200-483: The facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It

10336-499: The film library was Iris Barry , a British film critic and author whose three decades of work in collecting films and presenting them in artistic and historical contexts gained recognition for the cinema. Barry and her successors built a collection comprising some 8000 titles. Exiled film scholar Siegfried Kracauer worked at the MoMA film archive on a psychological history of German film between 1941 and 1943. The result of his study, From Caligari to Hitler: A Psychological History of

10472-455: The first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger , Albert Gleizes , Fernand Léger , Robert Delaunay and Henri Le Fauconnier , yet no works by Picasso or Braque were exhibited. By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence

10608-454: The first declared group exhibition of Cubism worldwide ( Exposició d'Art Cubista ), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which

10744-437: The fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity , drawing to greater or lesser extent on theories of Henri Poincaré , Ernst Mach , Charles Henry , Maurice Princet , and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions

10880-837: The following: It also holds works by a wide range of influential European and American artists including Auguste Rodin , Henri Matisse , Pablo Picasso , Georges Braque , Joan Miró , Aristide Maillol , Piet Mondrian , Marcel Duchamp , Paul Klee , Fernand Léger , René Magritte , Henry Moore , Alberto Giacometti , Georgia O'Keeffe , Edward Hopper , Walker Evans , Dorothea Lange , Arshile Gorky , Hans Hofmann , Franz Kline , Willem de Kooning , Jackson Pollock , Mark Rothko , David Smith , Helen Frankenthaler , Morris Louis , Kenneth Noland , Robert Rauschenberg , Frank Stella , Andy Warhol , Roy Lichtenstein , Jean-Michel Basquiat and hundreds of others. The MoMA photography collection consists of over 25,000 works by photographers, journalists, scientists, entrepreneurs, and amateurs, and

11016-428: The fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and

11152-459: The help of film curator Iris Barry was so successful that in 1937 the Academy of Motion Pictures Arts and Sciences commended the museum with an award "for its significant work in collecting films ... and for the first time making available to the public the means of studying the historical and aesthetic development of the motion picture as one of the major arts". The first curator and founder of

11288-461: The hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago . In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars and historians. This was wholly masterminded by Barr, a Picasso enthusiast, and the exhibition lionized Picasso as the greatest artist of the time, setting

11424-483: The human body, the site, to pallid cubes." At the 1910 Salon d'Automne , a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude) , which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913). The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911. This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to

11560-450: The institution's labor union, founded in 1971, has been described as the first of its kind in the U.S. The MoMA Library includes about 300,000 books and exhibition catalogs, more than 1,000 periodical titles and more than 40,000 files of ephemera about individual artists and groups. The archives hold primary source material related to the history of modern and contemporary art. The museum attracted 2,190,440 visitors in 2022, making it

11696-402: The land for its permanent site. From the 1930s through the 1950s, MoMA gained international recognition with landmark exhibitions, such as Barr's influential "Cubism and Abstract Art" in 1936, a retrospective of Pablo Picasso 's works organized in 1939–40 and the "Indian Art of the United States" exhibition in 1941. Abby Rockefeller's son, Nelson , became the museum's president in 1939, playing

11832-598: The largest paintings in the history of Cubism. Léger's The Wedding , also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni , Gino Severini and Carlo Carrà ; themselves made in response to early Cubism. The Museum of Modern Art The Museum of Modern Art ( MoMA )

11968-479: The last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement. Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. In 1908, in his review of Georges Braque 's exhibition at Kahnweiler 's gallery,

12104-457: The late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire . It came to rely heavily on Daniel-Henry Kahnweiler 's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after

12240-505: The library has subscription electronic resources along with Dadabase. These include journal databases (such as JSTOR and Art Full Text), auction results indexes (ArtFact and Artnet ), the ARTstor image database, and WorldCat union catalog. MoMA's Department of Architecture and Design was founded in 1932 as the first museum department in the world dedicated to the intersection of architecture and design. The department's first director

12376-473: The lone Vincent van Gogh exhibition on November 4, 1935. Containing an unprecedented 66 oils and 50 drawings from the Netherlands , as well as poignant excerpts from the artist's letters, it was a major public success due to Barr's arrangement of the exhibit, and became "a precursor to the hold van Gogh has to this day on the contemporary imagination". The museum also gained international prominence with

12512-558: The main feature of the exhibition. [...] In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement. What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows? The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912)

12648-510: The model for all the museum's retrospectives that were to follow. Boy Leading a Horse was briefly contested over ownership by the Solomon R. Guggenheim Museum . In 1941, MoMA hosted the ground-breaking exhibition, " Indian Art of the United States ", curated by Frederic Huntington Douglas and Rene d'Harnoncourt , that changed the way Native American arts were viewed by the public and exhibited in art museums. Abby Rockefeller's son Nelson

12784-463: The modernist sense. Picasso is credited with creating the first Cubist collage, Still-life With Chair Caning , in May 1912, while Braque preceded Picasso in the creation of Cubist cardboard sculptures and papiers collés . Papiers collés were often composed of pieces of everyday paper artifacts such as newspaper, table cloth, wallpaper and sheet music, whereas Cubist collages combined disparate materials—in

12920-491: The most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants . The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to

13056-441: The museum (as well as to modern art itself) and refused to release funds for the venture, which had to be obtained from other sources and resulted in the frequent shifts of location. Nevertheless, he eventually donated the land for the current site of the museum, plus other gifts over time, and thus became in effect one of its greatest benefactors. During that time, the museum initiated many more exhibitions of noted artists, such as

13192-600: The museum garden, and named it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden . The Rockefeller family and he have retained a close association with the museum throughout its history, with the Rockefeller Brothers Fund funding the institution since 1947. Both David Rockefeller Jr. and Sharon Percy Rockefeller (wife of former senator Jay Rockefeller ) sit on the board of trustees. After

13328-438: The museum meant to spur inclusion of African Americans Richard Hunt was the first African American sculptor to have a major solo retrospective at the museum. In 1983, the museum more than doubled its gallery space, increased the curatorial department by 30%, and added an auditorium, two restaurants, and a bookstore in conjunction with the construction of the 56-story Museum Tower adjoining the museum. Architect César Pelli led

13464-581: The new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7, 1929, nine days after the Wall Street Crash . Abby Rockefeller had invited A. Conger Goodyear , the former president of the board of trustees of the Albright Art Gallery in Buffalo, New York , to become president of the new museum. Abby became treasurer. At the time, it

13600-479: The newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text. Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion. A major development in Cubism occurred in 1912 with Braque's and Picasso's introduction of collage in

13736-402: The next month, MoMA relocated its public-facing operations to a temporary facility called MoMA QNS in Long Island City , Queens. The overall project, including an increase in MoMA's endowment to cover operating expenses, cost $ 858 million in total; the renovation of the Midtown Manhattan building alone cost $ 425 million. During the project, new gallery space was added on the first floor of

13872-421: The planned demolition in part because that building was relatively new, having been completed in 2001. MoMA decided to proceed with the demolition because the American Folk Art Museum was in the way of MoMA's planned expansion, which included exhibition space within 53 West 53rd Street. The tower, designed by Jean Nouvel and called 53W53 , received construction approval in 2014. Around the same time as 53W53

14008-485: The poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or , Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following

14144-644: The present, and includes over 200,000 works of architecture and design , drawing , painting , sculpture , photography , prints , illustrated and artist's books , film , as well as electronic media . The museum is considered one of the most influential cultural institutions globally devoted to modern and contemporary art . At the same time, MoMA has long faced criticism for developing and perpetuating Eurocentric narratives of modernism and for its insufficient focus on expanding access to socioeconomically underprivileged groups. The museum has been involved in controversies regarding its labor practices, and

14280-467: The public indefinitely, as an experimental exhibition and performance space. In addition, the PS1 space would be available while the 53rd Street complex was closed for major renovations. MoMA broke ground on the 53rd Street project in May 2001. Over the next year, the museum gradually closed two-thirds of its galleries and moved some of its exhibits online. The Midtown building closed completely in May 2002;

14416-504: The public on May 10, 1939, attended by an illustrious company of 6,000 people, and with an opening address via radio from the White House by President Franklin D. Roosevelt . In 1958, workers re-clad the MoMA building's second floor with a glass facade overlooking the sculpture garden. On April 15, 1958, a fire on the second floor destroyed an 18-foot-long (5.5 m) Monet Water Lilies painting (the current Monet Water Lilies

14552-588: The publicly accessible space by 25% compared to when the Tanaguchi building was completed in 2004. The expansion allowed for even more of the museum's collection of nearly 200,000 works to be displayed. The new spaces also allow visitors to enjoy a relaxing sit-down in one of the two new lounges, or even have a fully catered meal. The two new lounges include "The Marlene Hess and James D. Zirin Lounge" and "The Daniel and Jane Och Lounge". The goal of this renovation

14688-436: The sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of

14824-422: The simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art. The historical study of Cubism began in

14960-538: The third and fourth floors were evacuated to the Whitney Museum of American Art , which abutted on the 54th Street side. Among the paintings that were rescued was A Sunday Afternoon on the Island of La Grande Jatte , which had been on loan from the Art Institute of Chicago . Visitors and employees trapped above the fire were evacuated to the roof, and then jumped to the roof of an adjoining townhouse. In 1969,

15096-478: The viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas , 25 March 1909, to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro , as

15232-598: The west and east of the Abby Aldrich Rockefeller Sculpture Garden, which was to be enlarged from its original configuration. The Peggy and David Rockefeller Building on the western portion of the site houses the main exhibition gallerie, while the Lewis B. and Dorothy Cullman Education and Research Building provides space for classrooms, auditoriums, teacher-training workshops, and the museum's expanded library and archives. MoMA began

15368-585: The word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature , commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221) The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911,

15504-498: The work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation." John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations." There

15640-766: The works exhibited were Le Fauconnier 's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky 's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia , La Source (The Spring) (Museum of Modern Art, New York). The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka , and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka's two entries at

15776-427: The world's greatest collection of Modern art". Witold Rybczynski of Slate wrote: "Most of what has been written about the new MoMA has lauded its minimalist interiors, which, even if they don't exactly disappear, have an opulently ethereal quality. [...] Yet this urban building is not experienced only from inside—and, seen from the sidewalk, Taniguchi's architecture does anything but fade away." MoMA, which owned

15912-678: The world. On the 100th anniversary of her birth in 1983, the Musée Marie Laurencin opened in Nagano, Japan. To date, the Musée Marie Laurencin is the only museum in the world that solely contains the art of a female painter. Founder Masahiro Takano was enamored with Laurencin's sensual and lyrical worldview, and the museum holds over 600 art pieces by her. Laurencin's work is also found in The Museum of Modern Art in New York,

16048-508: The year 2000 with the activation of a 1999 agreement formalizing its affiliation with the P.S. 1 Contemporary Art Center , an independent contemporary art organization which had been founded in nearby Long Island City , Queens, New York in 1971. An agreement provided for a 10-year merger process, allowing gradual coordination and consolidation of programming and staff. The location in Queens, a re-purposed former public school, would remain open to

16184-553: Was Philip Johnson who served as curator between 1932 and 1934 and between 1946 and 1954. The next departmental head was Arthur Drexler , who was curator from 1951 to 1956 and then served as head until 1986. The collection consists of 28,000 works including architectural models, drawings, and photographs. One of the highlights of the collection is the Mies van der Rohe Archive. It also includes works from such legendary architects and designers as Frank Lloyd Wright , Paul László ,

16320-533: Was America's premier museum devoted exclusively to modern art, and the first of its kind in Manhattan to exhibit European modernism. One of Rockefeller's early recruits for the museum staff was the noted Japanese-American photographer Soichi Sunami (at that time best known for his portraits of modern dance pioneer Martha Graham ), who served the museum as its official documentary photographer from 1930 until 1968. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees. Sachs,

16456-594: Was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after

16592-496: Was acquired shortly after the fire as a replacement). The fire was started by workmen installing air conditioning, who were smoking near paint cans, sawdust, and a canvas drop cloth. One worker was killed by the fire, and several firefighters were treated for smoke inhalation. Most of the paintings on the floor had previously been removed from the work area, although large paintings including the Monet had remained in place. Art works on

16728-408: Was another important influence. There were also parallels in the development of literature and social thought. In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision , and second his interest in

16864-450: Was approved, MoMA unveiled its expansion plans, which encompass space in 53W53, as well as an annex on the former site of the American Folk Art Museum. The expansion plan was developed by the architecture firm Diller Scofidio + Renfro in collaboration with Gensler . Following a controversy over the plans, MoMA split the plan into three phases in January 2016. The plan would add 50,000 square feet (4,600 m ) of gallery space in 53W53, in

17000-458: Was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]" The assertion that

17136-537: Was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other. This technique of representing simultaneity, multiple viewpoints (or relative motion )

17272-402: Was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive. The reemergence of Cubism coincided with the appearance from about 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among

17408-565: Was fully translated and reproduced in the newspaper La Veu de Catalunya . Duchamp's Nude Descending a Staircase, No. 2 was exhibited for the first time. Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe. While press coverage was extensive, it was not always positive. Articles were published in

17544-491: Was greatly affected by her separation from the French capital, the unrivaled center of artistic creativity. After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. During the 1930s she worked as an art instructor at a private school. She lived in Paris until her death. Laurencin's works include paintings, watercolors, drawings, and prints. She

17680-461: Was in November 1929, displaying paintings by Van Gogh , Gauguin , Cézanne , and Seurat . First housed in six rooms of galleries and offices on the 12th floor of Manhattan's Heckscher Building, on the corner of Fifth Avenue and 57th Street, the museum moved into three more temporary locations within the next 10 years. Abby Rockefeller's husband, John D. Rockefeller Jr., was adamantly opposed to

17816-465: Was led by A. Conger Goodyear as president and Abby Rockefeller as treasurer, with Alfred H. Barr Jr . as its first director. Under Barr's leadership, the museum's collection rapidly expanded, beginning with an inaugural exhibition of works by European modernists. Despite financial challenges, including opposition from John D. Rockefeller Jr. , the museum moved to several temporary locations in its early years, and John D. Rockefeller Jr. eventually donated

17952-507: Was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2 , which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris,

18088-493: Was pioneered in partnership by Pablo Picasso and Georges Braque , and joined by Jean Metzinger , Albert Gleizes , Robert Delaunay , Henri Le Fauconnier , Juan Gris , and Fernand Léger . One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne . A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at

18224-608: Was reviewed in the October 8, 1911 issue of The New York Times . This article was published a year after Gelett Burgess ' The Wild Men of Paris , and two years prior to the Armory Show , which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at

18360-516: Was selected by the board of trustees to become its president, in 1939, at the age of 30; he was a flamboyant leader and became the prime instigator and funding source of MoMA's publicity, acquisitions, and subsequent expansion into new headquarters on 53rd Street. His brother, David Rockefeller , joined the museum's board of trustees in 1948, and took over the presidency when Nelson was elected governor of New York in 1958. David Rockefeller subsequently employed noted architect Philip Johnson to redesign

18496-555: Was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci 's Trattato della Pittura by Joséphin Péladan . During the late 19th and early 20th centuries, Europeans were discovering African , Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin , Henri Matisse , and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein , at

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