2026 Art II - Stats and Dates

At the turn of the [CENTURY], American artists were still operating within a mode of training and exhibition that had emerged in the [DECADE]: the academy system. (pg48)

20th; 1820s

The unofficial leader of the Ashcan School was Robert Henri, a portrait artist who had studied in Philadelphia and Paris before moving to New York in [YEAR], where he took up a teaching position. (pg48)

1901

In [YEAR], a group show at the Macbeth Gallery in Manhattan featured works by Henri, Sloan, Glackens, Luks, Everett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. (pg49)

1908

Officially calling themselves “The [#],” their work was seen as bold and modern; their nickname of the “Ashcan School” was bestowed later by an unfriendly critic but has since become the most common name for this group of loosely affiliated artists. (NAME THEM FRFR) (pg49)

8 (Robert Henri, John Sloan, George Luks, Everett Shinn, Maurice Prendergast, Ernest Lawson, Arthur B. Davies)

By around [YEAR], “The Eight“ had largely disbanded. (pg49)

1917

One of the key events that brought these new styles to public awareness in the United States was the International Exhibition of Modern Art, which was on view at the [ORDINAL] Regiment Armory building in New York in [MONTH] and [MONTH] [YEAR] before traveling to Chicago and Boston. (pg49)

69th; Feb; Mar; 1913

Organized by artists Arthur B. Davies, Walt Kuhn, and Walter Pach, The Armory Show brought together more than [#] works of modern and contemporary European and American art. (pg49)

1,300

While some of the images in the Armory Show were from [CENTURY] movements like Impressionism, most of the pieces chosen represented the state of contemporary art in both Europe and the United States. (pg49)

19th

Between [#] and [#] people saw the Armory Show exhibition at its [#] venues. (pg49)

250,000; 275,000; 3

Duchamp’s Nude Descending a Staircase, No. 2 ([YEAR]) confounded viewers with its angular representation of the human form in motion and its collapse of space and time. (pg50)

1912

With the outbreak of war in Europe in [YEAR], another important moment in [PART-CENTURY] American art history was set in motion. (pg50)

1914; early-20th

Though the United States did not enter the war until [YEAR], the early years of the conflict had a lasting influence on the American art world. (pg50)

1917

With war raging in many areas of Western Europe, several French artists relocated to New York, including Marcel Duchamp, who arrived in [YEAR], and Francis Picabia. (pg50)

1915

Dada was an antiwar art movement that began in Switzerland in [YEAR] and then spread across Europe. (pg50)

1915

Duchamp’s works like In Advance of the Broken Arm ([YEAR]), a metal snow shovel, were known as readymades: ordinary consumer products that he purchased, titled, and displayed in artistic spaces, transforming them from commodities into “art.” (pg50)

1915

Duchamp would inspire American artists in his own generation, such as his frequent collaborator Man Ray, but he also influenced a younger generation of artists working in the [DECADE] and [DECADE]. (pg50)

1950s; 1960s

A son of German immigrants, Stieglitz had studied in Germany in the [DECADE] and settled in New York after [YEAR]. (pg51)

1880s; 1890

In [YEAR], Stieglitz started publishing his journal, Camera Work, which would go on to feature photographs by some of the most important photographers of the [PART-CENTURY]. (pg51)

1903; early-20th

In [YEAR], Stieglitz opened his first art gallery, familiarly known as “[#]” for its address on [ORDINAL] Avenue. (pg51)

1905; 291; 5th

Though it began as a photographic gallery, [#] emerged as an important display site for European modernism, with shows of work by Picasso and Henri Matisse. It was also one of the first American venues to display non-Western art, hosting a show of African sculpture in [YEAR]. (pg51)

291; 1914

While [#] closed in [YEAR], Stieglitz continued to organize art shows, and he later controlled [#] other influential exhibition spaces. (NAME THEM FRFR) (pg51)

291; 1917; 2 (Intimate Gallery, An American Place)

Stieglitz not only brought groundbreaking European artworks to the United States, but he also used his power in the art world to champion a new generation of American painters that included Arthur G. Dove, Marsden Hartley, Max Weber, and Georgia O’Keeffe. Stieglitz also maintained his own photographic practice and wrote art criticism throughout the [DECADE]. (pg51)

1920s

SELECTED WORK: Charles Demuth, I Saw the Figure 5 in Gold, [YEAR] (pg52)

1928

Born in Lancaster, Pennsylvania, in [YEAR], Charles Demuth studied at the Pennsylvania Academy of the Fine Arts and later in Paris, where many American painters had gone to train since the [PART-CENTURY]. (pg52)

1883; late-19th

Hartley later introduced Demuth to Alfred Stieglitz, who gave him a solo show in [YEAR]. (pg52)

1926

I Saw the Figure 5 in Gold uses [#] colors. (NAME THEM FRFR) (pg53)

3 (red, gold, shades of gray)

At the center of the composition, “I Saw the Figure 5 in Gold“, the number 5 is repeated [#] times, each smaller number resting within the curve of the larger one, creating an impression of recession into space, rapid movement, or a sound fading away. (pg53)

3

“I Saw the Figure 5 in Gold“ is a representation of Williams’s poem “The Great Figure” ([YEAR]), which describes a fire engine’s noisy progress down an urban street. (pg53)

1921

The friendship between Demuth and Williams lasted until Demuth’s death from complications of diabetes in [YEAR]. (pg54)

1935

SELECTED WORK: Georgia O’Keeffe, The Lawrence Tree, [YEAR] (pg54)

1929

Georgia O’Keeffe was born in Wisconsin in [YEAR], making her one of the youngest members of the Stieglitz group. (pg54)

1887

Starting in [YEAR], Georgia O’Keeffe attended the School of the Art Institute of Chicago before leaving to study in New York in [YEAR]. (pg54)

1905; 1907

In New York, Georgia O’Keeffe learned painting with William Merritt Chase, one of the most important artists of the [PART-CENTURY]. (pg54)

late-19th

A more crucial influence was Arthur Wesley Dow, an art teacher and theorist whose book Composition ([YEAR]) derived its aesthetic principles from East Asian, particularly Japanese, art. (pg54)

1899

O’Keeffe was also influenced by the writings of Russian educator and Expressionist painter Vasily Kandinsky, whose book On the Spiritual in Art ([YEAR]; translated into English in [YEAR]) helped form O’Keeffe’s artistic philosophy. (pg54)

1912; 1914

O’Keeffe’s more radical experimentations, such as Blue and Green Music ([YEAR]), retreat from recognizable imagery and instead use music or sound as their inspiration. (pg54)

1918

O’Keeffe’s approach is derived from [CENTURY] painters like James Abbott McNeill Whistler, who thought of his works in terms of color “harmonies” and “symphonies.” (pg55)

19th

Kandinsky was also a major influence on O’Keeffe’s fellow Stieglitz circle member Arthur G. Dove, who used biomorphic abstraction to echo the syncopation of jazz music in works like George Gershwin – Rhapsody in Blue, Part I ([YEAR]). (pg55)

1927

O’Keeffe visited several exhibitions of European modernism at Stieglitz’s [#] gallery in the [PART-DECADE], and in [YEAR] Stieglitz presented her work in a solo show, the first of many O’Keeffe exhibitions he sponsored over the next [#] years. (pg55)

291; early-1910s; 1917; 25

In [YEAR] O’Keeffe and Stieglitz married, and though their romantic relationship was complicated, Stieglitz continued to be supportive of O’Keeffe’s career for the rest of his life. (pg55)

1924

She experimented with geometric abstraction in a series of images of New York City, including The Shelton with Sunspots, N.Y. ([YEAR]) that featured skyscrapers. (pg55)

1926

After Stieglitz passed away, O’Keeffe moved to Abiquiu, New Mexico, in [YEAR], where she lived and worked until her death in [YEAR] at the age of [#]. (pg56)

1949; 1986; 98

In [YEAR], painters Ernest Blumenschein and Bert Geer Phillips were on a journey through the Southwest when they stopped in Taos Pueblo, New Mexico. (pg56)

1898

Taos Pueblo, New Mexico, an Indigenous village whose original construction dates back around [#] years, nestled near the Sangre de Cristo mountains. (pg56)

1,000

In [YEAR], Blumenschein and two other painters established the Taos Society of Artists, which provided Euro-American artists with support for exhibiting and publicizing their work. (pg56)

1915

By [YEAR], the Ashcan artist John Sloan, who also found inspiration for his art in Taos, mocked how consumers had commercialized and exotified Native American culture and handcraft. (pg56)

1927

In [YEAR], the socialite Mabel Dodge moved to Taos and purchased a large property, later marrying a local Indigenous man, Tony Lujan (often anglicized to Luhan). (pg56)

1917

After staying with Dodge Luhan in [YEAR], the Lawrences had purchased a part of her property for their own ranch. (pg56)

1922

The Lawrences’ used their ranch as a base, where they lived between frequent journeys to Mexico between [YEAR] and [YEAR]. (pg56)

1922; 1925

D. H. Lawrence was known for his controversial novels Women in Love ([YEAR]) and Lady Chatterley’s Lover ([YEAR]). (pg56)

1920; 1928

D. H. Lawrence composed literary criticism and part of a novel about Mexico, The Plumed Serpent ([YEAR]), while living in Taos. (pg56)

1926

By the time O’Keeffe went to stay with Dodge Luhan in the [SEASON YEAR], the tree had become known as the “Lawrence tree,” after the author’s habit of sitting there to write his work.

summer 1929

The Lawrence Tree uses [#] main colors. (NAME THEM FRFR) (pg56)

3 (deep blackish-green, reddish-brown, medium blue)

Lawrence imagined trees almost as sentient beings in his essay “Pan in America” ([YEAR]), in which he described a tree as “a strong-willed, powerful thing-in-itself, reaching up and reaching down.” (pg57)

1926

At the end of the First World War, photography had only been in existence for about [#] years, but it already had a complex history. (pg57)

80

With the rise of Pictorialism in the [DECADE] and [PART-CENTURY], the idea of artistic photography became more entrenched and was accepted by art critics. (pg57)

1890s; early-1900s

Though Pictorialism declined in the [DECADE], it had served an important role in establishing expectations that photography could, and should, be exhibited as an art on its own terms. (pg57)

1910s

Photographers in the [DECADE] through [DECADE] increasingly pushed the boundaries of what a photograph could be, experimenting with cropping, lighting, and focus and with new ways to use photographic materials and techniques. (pg57)

1910s; 1930s

SELECTED WORK: Imogen Cunningham, Leaf Pattern, Before [YEAR] (pg58)

1929

Imogen Cunningham was born in Portland, Oregon, in [YEAR] and grew up mostly in Seattle, Washington. (pg58)

1883

In the early years of photography, Imogen Cunningham’s “The Scientific Development of Photography“ helped to have some scientific knowledge of the chemicals used in developing, though this was becoming less critical for photographic success by the [PART-CENTURY]. (pg58)

early-1900s

Cunningham argued that technological and chemical expertise remained important for photographers in an essay she wrote in [YEAR]. (pg58)

1913

Between [YEAR] and [YEAR], Cunningham worked for the ethnographic photographer Edward S.Curtis. (pg58)

1907; 1909

Edward S. Curtis composed a multi-volume book of photographs of Native North American peoples (commissioned in [YEAR]). (pg58)

1906

Cunningham corresponded with photographer Alvin Langdon Coburn, who introduced her to other Pictorialists during her travels in Germany, France, and the eastern United States between [YEAR] and [YEAR]. (pg58)

1909; 1910

Cunningham finally set up her own studio in her hometown of Seattle in [YEAR], where she worked on portrait commissions and exhibited her artistic photographs at local venues. (pg58)

1910

Early photographs by Cunningham featured a soft focus to create dreamy narratives, often posing her friends wearing elaborate costumes to recreate scenes from [CENTURY] literature and poems. (pg58)

19th

In [YEAR], Cunningham married painter George Roy Partridge (called “Roi”). (pg58)

1915

In [YEAR], Cunningham and George Roy moved to San Francisco, California. (pg58)

1917

Cunningham and George Roy moved to San Francisco with their [#] young children. (pg58)

3

In [YEAR], they met Los Angeles-based Edward Weston, who became the unofficial leader of the West Coast modernist photographers. (pg58)

1920

Starting in [YEAR], Cunningham moved away from Pictorialist styles and began to experiment with close-cropped, sharply focused images of botanical specimens. (pg58)

1923

In [YEAR], Leaf Pattern and [#] more of Cunningham’s photos were accepted to an important international exhibition of New Objectivity, “Film und Foto” (“Film and Photography”), in Stuttgart, Germany. (pg59)

1929; 9

Weston’s description of Cunningham’s works from the [DECADE] clearly fits within the goals and aesthetics of New Objectivity. (pg59)

1920s

In the [DECADE], Cunningham exhibited with a group of California-based photographers who banded together in [YEAR] under the name Group f/[#]. (pg59)

1930s; 1932; 64

The f/[#] group exhibited together through the [PART-CENTURY], though Cunningham was only associated with them for a short time. (pg60)

64; early-1960s

Cunningham later shifted to portrait photography and commissions for popular magazines like House and Garden and Life. Cunningham passed away in [YEAR]. (pg60)

1976

SELECTED WORK: Man Ray, Rayograph, [YEAR] (pg60)

1922

Man Ray was born Emmanuel Radnitzky in [YEAR], the child of Russian Jewish immigrants, and he spent most of his childhood and youth in New York City. (pg60)

1890

Man Ray learned drawing from Ashcan artists Robert Henri and George Bellows but soon became more interested in the works on display at Stieglitz’s [#] gallery. (pg60)

291

In [YEAR], Ray followed Duchamp back to Paris and stayed there until the outbreak of the Second World War forced him to return to the United States. (pg60)

1921

Surrealism was officially launched in [YEAR] when Breton published his Manifesto of Surrealism. (pg61)

1924

A photogram is one of the oldest kinds of photography, having been practiced as early as the [DECADE]. (pg62)

1830s

Man Ray got the idea to use contact printing based on the “schadographs” made by the German Dada artist Christian Schad starting in [YEAR]. (pg62)

1918

Russian architect El Lissitzy and Hungarian artist Laszlo Moholy-Nagy were among the avant-garde artists making photograms in the [PART-DECADE]. (pg62)

early-1920s

In [YEAR], Man Ray worked with the Surrealist poet Tristan Tzara, who described his photograms in suitably Surrealistic terms. (pg62)

1922

The Rayograph shown in your Art Reproductions Booklet was created in [YEAR]. (pg62)

1922