(1907 - 1980 C.E.)

CONTENT: What do you see?

FORM: The details (what you see more exactly). How the artist delivers the content.

CONTEXT: Everything NOT observable.

FUNCTION: The intended purpose of the work.




UNIT Sheet: below



APAH 250 Images:

126. Les Demoiselles d'Avignon, Pablo Picasso 

130. The Portuguese, Georges Braque 

131. The Goldfish, Henri Matisse 

122. The Scream, Edvard Munch 

128. The Kiss, Gustav Klimt 
129. The Kiss, Constantin Brancusi 



128. The Kiss, Gustav Klimt 

131. The Goldfish, Henri Matisse 

133. Self-Portrait as a Soldier, Ernst Ludwig Kirchner 

132. Improvisation 28 (second version), Vasily Kandinsky 

134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz 



126. Les Demoiselles d'Avignon, Pablo Picasso 

130. The Portuguese, Georges Braque 

* Leger, Delauney, Davis



144. Fountain, Marcel Duchamp 


De Stijl

136. Composition with Red, Blue and Yellow, Piet Mondrian 



138. Object (Le Déjeuner en fourrure), Meret Oppenheim 

140. The Two Fridas, Frida Kahlo 


Modern Intersections

140. The Two Fridas, Frida Kahlo 

141. The Migration of the Negro, Panel no. 49, Jacob Lawrence 

142. The Jungle, Wilfredo Lam 

143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera


Modern Architecture

124. Carson, Pirie, Scott and Company Building, Louis Sullivan 

135. Villa Savoye, Le Corbusier 

139. Fallingwater, Frank Lloyd Wright 

146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson 

American Post WWII Modern Art Movements

Abstract Expressionism

149. The Bay, Helen Frankenthaler 

145. Woman I, Willem de Kooning 

* Jackson Pollock

Pop Art

147. Marilyn Diptych, Andy Warhol 

150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg 

Earth Art

151. Spiral Jetty, Robert Smithson 
137. Illustration from The Results of the First Five-Year Plan, Varvara Stepanova 
Installation Art

224. The Gates, Christo and Jeanne-Claude 

148. Narcissus garden, Yayoi Kusama 



Panel 60: And the migrants kept coming.
Panel 6: The trains were crowded with migrants.


A very special thank you to Dr. Robert Coad for his infinite wisdom, amazing workshops, gift of materials and time, and years of support.

Another special thank you to Ms. Marsha Russell for her devotion to teaching and generosity in sharing her materials and knowledge with all of us.

Thank you to Valerie Park for her inspirational AP Art History web site that guided the creation of this site.