must select one artist from each of the following movements to research:

1. Neoclassicism
o Francios-Xavier Fabre
o Adelaide Labille-Guiard
o Jacques-Louis David
2. Romanticism
o Joseph Wright
o William Blake
o Sophie Fremiet
3. Impressionism
o Gusatave Calliebotte
o Edouard Manet
o Rosa Bonhuer
4. Post-Impressionism
o Paula Modersohn-Becker
o Edourd Vuillard
o Jauquin Sorolla
5. Expressionism and Fauvism
o Xul Solar
o Paul Klee
o Auguste Rodin
6. Cubism and Futurism
o Marisa Mori
o Georges Braque
o Umberto Baccioni
7. Dada, Social Realism, and Surrealism
o Hans Arp
o Dorothea Tanning
o Gordan Parks
8. Abstract Expressionism and Pop Art
o Beatriz Gonzalez
o Marjorie Strider
o Francis Bacon
9. Minimalism and Post-Minimalism
o Joseph Beuys
o Yoko Ono
o Donald Judd
10. Postmodernism and Deconstructivism
o Charles Jencks
o Chloe Wise
o Kehinde Wiley

Questions
Once you’ve selected the 10 artists you would like to focus on, you’ll need to
research answers to the following seven questions or question groups:

1. What’s the year of the artist’s birth (and, where applicable, death)?
2. Where was the artist born? Where did he or she create the majority of
his or her work (if at a different location than this place of birth)?
3. What medium did the artist use? Did he or she use more than one
main medium?
4. Which art movement did the artist contribute to? If he or she
contributed to more than one movement, where did this artist make
the greatest impact?
5. What are some of the artist’s most famous works of art? Choose one of
these works. In what ways is the piece characteristic of the movement
specified above? (Include an image of the chosen piece.)
6. What challenges, if any, did the artist face that may have affected his
or her work? What was happening in the world at that time that
influenced the artist’s work?
7. What’s innovative about the artist’s work for that time period?
You'll then write an APA-formatted essay that contains a title page, a brief
introduction and conclusion, in-text citations supporting your research, and a
reference list. Answer each question using complete sentences. The essay
should be a minimum of 1,200 words. However, most students finish the
project in about 2,000 words.

Answer the questions in essay format; do not answer them in list format.

You’ll need to find at least one source for each artist from the internet, a
library, or elsewhere. Be sure to use reputable sources when searching for
information on your selected artists.

Writing Guidelines
1. Your essay should be a minimum of 1,200 words.
2. Your essay should be double-spaced, with 1" margins and 12-point
Times New Roman font.
3. Your entire project should be contained in one (1) Microsoft Word or
Rich Text Format file.
4. Your essay should include a cover page and a works cited page using
APA formatting.
 1. NEOCLASSISIM

a. Adelaide Labille-Guiard

Was born on 1749 and died in 1803

Born in Paris, France. And created most of her work in Paris.

She is considered by some to be the greatest woman pastel portraitist.

She worked In the Neoclassical movement.

The most important work by Adélaïde Labille-Guiard is her Self-Portrait

with Two Pupils. Signed and dated 1785 and exhibited in the Salon of the
same year, this lifesize, full-length portrait of a modern woman seated
before her easel teaching younger women to paint by her example is a
bold statement. It suggests the artist’s intention as a recently elected
academician to try to increase the number of females who were enrolled
and promote their gifts and their standing within the academy. (Baetjer,
The Met’s Heilbrunn Timeline of Art History )

Although her portrait practice did not regain its former profitability, she
was an active participant in the debates unleashed by the Revolution over
women’s access to education and financial support.

This self-portrait is "revolutionary" in more ways than one: large in size, it

approaches the dimensions of history painting, a genre forbidden to
women because it involved the study of the nude, considered unseemly –
some critics described it as a "historiated painting"; It is one of the first
self-portraits of women practicing their art and the first depicting a
woman painter with her students.

A passionate defender of women's artistic education, Labille-Guiard was

one of a small group of artists who campaigned for women's rights and
tried to reform the Academy in their favour: in 1790 they tabled two
motions aimed at abolishing the admission quota and allowing women
access to the same careers as men, in particular that of teacher in the
royal schools. (Niccoli, 2024)

Citations:
Baetjer, K. (1 C.E., January 1). Adélaïde Labille-Guiard (1749–1803). The
Met’s Heilbrunn Timeline of Art History.
https://www.metmuseum.org/toah/hd/lagui/hd_lagui.htm

Niccoli, L. (2024, January 16). L’histoire par l’image | Adélaïde Labille-

Guiard. L’histoire Par L’image. https://histoire-image.org/etudes/adelaide-
labille-guiard

2. Romantiscism
Sophie Fremiet
She was born on 16 June 1797 in Dijon, France, and died in Paris, France the 4 th
December 1867.
She primarily used the traditional techniques of oil painting. Her works were
often characterized by their classical style, meticulous attention to detail, and
historical or allegorical themes.
She mainly worked in the Romanticism movement.
One of her famous paintings is “Portrait of a Woman (1818)”. In the "Portrait of a
Woman," there is likely a focus on capturing the subject's personality, mood, or
inner thoughts through her expression and posture. The careful rendering of the
woman's features, clothing, and perhaps the background, would demonstrate
the artist's commitment to portraying her subject with authenticity and
sensitivity, which was valued in Romantic portraiture.
Sophie Rude, née Fremiet, was a talented but largely unknown painter,
overshadowed by her famous husband, François Rude, a prominent Romantic
sculptor. Due to gender norms, she wasn't allowed to study nude models with
male peers and took private lessons instead. After the fall of the First Empire in
1815, her Bonapartist family fled to Brussels, where she continued her training
under Jacques-Louis David and began exhibiting at the Brussels Salon in 1818.
(Abillard, Rude sophie 2019 www.culture.gouv.fr/Thematiques/Musees/Les-
musees-en-France) The political upheaval following the fall of Napoleon and the
return of the Bourbons could have derailed her career, but Frémiet managed to
continue her artistic development in exile. Her resilience and ability to adapt to
changing circumstances were innovative in how they allowed her to maintain
and grow her artistic practice despite significant challenges.
Frémiet defied societal expectations by pursuing her passion for art despite
gender-based limitations. She sought alternative ways to continue her artistic
education, even when excluded from traditional male-dominated training. Her
work likely blends Neoclassical precision with Romantic emotion, reflecting her
training with David and connection to the Romantic movement through her
husband, François Rude. This innovative fusion of styles highlights her versatility
and depth as an artist.
Citations used:
Abillard, M. (2019) Rude sophie, Accueil - Ministère de la culture. Available at:
https://www.culture.gouv.fr/Thematiques/Musees/Les-musees-en-France/Les-
collections-des-musees-de-France/Decouvrir-les-collections/Les-femmes-artistes-
sortent-de-leur-reserve/Icones/Rude-Sophie (Accessed: 12 August 2024).

3. Impressionism
Rosa Bonhuer
Rosa Bonheur was born in Bordeaux, France on March 16, 1822. She died May
25, 1899, Château de By, near Fontainebleau.
She worked with oil on canvas. She contributed to the impressionism movement.
The Horse Fair (1853), considered the greatest work of the artist, is notable for
its departure from her usual style. While rooted in realism, the painting
incorporates the color and emotion of the Romantics, influenced particularly by
Théodore Géricault. The scene was based on sketches she made during visits to
a Paris horse market near La Salpêtrière. The artist spent a year and a half
making these sketches, dressing as a man to avoid attention and for practical
reasons. (Pickeral, The Horse Fair 2023 britannica.com)
Rosa Bonheur, a talented artist in a male-dominated art world, faced challenges
due to societal norms that restricted women from serious art careers. Defying
traditional gender roles, she sought independence, refusing to marry and
obtaining permission to wear men’s clothing, which allowed her to access
subjects typically off-limits to women. She also developed the traditionally male
habit of smoking cigars. Despite her talent, Bonheur's commitment to realism
and the animal genre was sometimes criticized as outdated, as it didn't align
with emerging trends like Impressionism. Nonetheless, she remained true to her
style while navigating the evolving art world.
Although less well-known than her Impressionist peers for her art, Bonheur's
approach to women's roles was notably modern. She advocated for women to
enter professional fields like art, challenging Victorian moralism. Her pioneering
career and work as an art educator, alongside her personal example, likely had a
more lasting impact on European art than her paintings alone. (Turner, Rosa
Bonheur 2016 encyclopedia.com)
Citation:
Pickeral, T. (2023) The Horse Fair, Encyclopædia Britannica. Available at:
https://www.britannica.com/topic/The-Horse-Fair (Accessed: 12 August 2024).
Turner, R.M. (2016) Rosa Bonheur, Encyclopedia.com. Available at:
https://www.encyclopedia.com/people/literature-and-arts/european-art-1600-
present-biographies/rosa-bonheur (Accessed: 12 August 2024).

4. Post Impressionism
Paula Modersohn-Becker
She was born February 8, 1876, Dresden, Germany—died November 30, 1907,
Worpswede.
She worked with oils on canvas. She contributed to the Post-impressionism
movement.
One of her famous artworks was “Self-portrait with a Camellia Branch (1907)”.
Paula Modersohn-Becker holds a camellia branch in this serene self-portrait, a
symbol of the eternal cycle of blooming and withering, life and death. Her gentle
expression and enlarged eyes mirror the coptic saints, and hint at her interest in
the antique mummy portraits she'd seen during visits to the Louvre. On July
26th, 1900, Becker noted in her diary, “I know that I won’t live very long. But is
that sad? Is a festival better because it’s longer? And my life is a festival, a short,
intensive festival.” (arthistoryproject.com, Self-portrait with a camellia branch
paula-modersohn-becker) This was Becker’s last painting, painted during a trip
to Paris. She died seven months later of an embolism, and here, at least, she’s at
peace.
Paula Modersohn-Becker emerged as an artist at the end of the 19th century, a
period when German artists were moving away from traditional academic styles
towards the looser brushwork and focus on light seen in French Impressionism
(Reder, Paula Modersohn-Becker | Moma 2018). She explored new approaches in
her depictions of women and self-portraits, and by 1906, began painting life-
sized nudes, positioning herself alongside leading Parisian artists like Picasso
 and Matisse. Unlike them, she rejected overt eroticism and instead sought to
reinvent the portrayal of women in art, becoming likely the first modern female
artist to paint nude self-portraits, including one of herself pregnant.
Citation:
arthistoryproject.com, P. (2016) Self-portrait with a camellia branch, Obelisk Art
History. Available at: https://www.arthistoryproject.com/artists/paula-modersohn-
becker/self-portrait-with-a-camellia-branch/ (Accessed: 12 August 2024).
Reder, H. (2018) Paula Modersohn-Becker | Moma, Paula Modersohn-Becker
German, 1876–1907. Available at: https://www.moma.org/artists/4037
(Accessed: 12 August 2024).
5. Expressionism and Favism
Xul Solar
Oscar Agustín Alejandro Schulz Solari (known as Xul Solar) was born on December
14, 1887 in the Buenos Aires town of San Fernando in Argentina. Xul Solar died on
April 9, 1963, at the age of 75, at his home in Tigre (cultura.gob.ar, ¿Quién fue xul
solar? | cultura 2020). He was accompanied by his spouse Lita, who said her
husband "didn't believe in death, for him there will always be a tomorrow."
Xul Solar, primarily used watercolors for his paintings, though he also worked with
tempera and ink. Xul Solar is associated with the Surrealist and Avant-Garde
movements, though his style is quite unique and doesn't fit neatly into any one
category.
One of his famous paintings is “Sol (1920)”. He used watercolor and opaque
watercolor with graphite on paper. In Sol, the geometricized figure of a man
represents the embodiment of the sun god. His highly stylized body contorts as he
stretches toward the sky, raising a solar disk in his hands. Words in Spanish
scattered throughout the composition read: "sun," "never stop," "even if the earth
and sun stink, be pugnacious." This work likely captures the profound cultural
changes and intellectual debates that characterize the early years of the twentieth
century, including the utopian aspirations for a new art and a new world. (The
Metropolitan Museum of Art, Xul Solar: Sol 2021)
His works often explore spiritual, philosophical, and esoteric themes. His works are
known for their vibrant colors, intricate details, and mystical themes. His two
passions were the visual arts and music, but he was also interested in languages,
religions, anthroposophy, numerology and astrology. Xul’s search for higher
knowledge, for the unrevealed truth, guided him throughout his life and led him to
approach different religions and forms of belief in his artwork.
The art of Xul Solar possesses an esoteric flavor of deep religious and metaphysical
suggestion. In an imaginary space, Xul Solar combines faces, magical elements, and
fragmentary objects, treating his material in a schematic, planimetric way with
dynamic action and an exceptional refinement of color (Aravena, Encyclopedia of
Latin American History and Culture, Xul Solar, (1888–1963)).
* Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or
downloaded.
Citations:
Ephemerides, A. (2020) ¿Quién fue xul solar? | cultura. Available at:
https://www.cultura.gob.ar/xul-solar-artista-inclasificable-8909/ (Accessed: 12
August 2024).
The Metropolitan Museum of Art, M. (2021) Xul Solar: Sol, The Metropolitan Museum
of Art. Available at: https://www.metmuseum.org/art/collection/search/851784
(Accessed: 12 August 2024).
Aravena, A.C. (2024) ." encyclopedia of Latin American history and culture. .
encyclopedia.com. 30 Jul. 2024 ., Encyclopedia.com. Available at:
https://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-
maps/xul-solar-1888-1963 (Accessed: 12 August 2024).

6. Cubism and Futurism

Marisa Mori
She was born in Florence, France in 1900 and died in 1985. Her works were made
with oils. She contributed to the Futurist movement.
She is a successful Italian artist who embraced the Futurist movement before
turning to figurative landscapes, portraits, and still-life works.
One of her famous artworks is L'Ebbrezza fisica della maternita where she utilizes
the same imagery as the aeropittura paintings of her male colleagues, juxtaposing
"masculine" forms of flight with the "feminine" natural world (Kraft-Ainsworth,
Marisa Mori and the Futurists: A Woman Artist in an Age of Fascism. 2023).
The peak years of Mori’s personal and professional life unfolded during Mussolini’s
twenty-year premiership. Fascist policies promoted motherhood while increasing
restrictions on women’s professional opportunities. Mussolini stated unequivocally,
“A woman must obey… in politics she must not count.”
She became the only female contributor to The Futurist Cookbook (1932), had a
solo show at Anton Giulio Bragaglia’s Roman gallery in 1934, and in the same year,
accepted Marinetti’s aviation challenge to fly in an early acrobatic biplane over the
Italian capital, receiving his seal of approval as a bona fide aeropittrice, or female
aeropainter (17 & Jenkins, Marisa Mori and the futurists – Jennifer S. Griffiths 2022).
She was also the only female Futurist to explore female body politics in pictures
that seem to subvert prevailing Fascist propaganda about happy families, prolific
mothers, and submissive women. Mori’s importance lies not in her position above,
ahead, or beyond the culture of her time, but in the ways that she was inextricably
bound to it, shaped by it, and often limited by it. As democracy and women’s rights
face renewed opposition and backlash, her story holds lessons for us in our own
time.
Citations:
17, L.J./ J. and Jenkins, L. (2022) Marisa Mori and the futurists – Jennifer S. Griffiths,
Women’s History Network. Available at: https://womenshistorynetwork.org/marisa-
mori-and-the-futurists-jennifer-s-griffiths/ (Accessed: 12 August 2024).
Kraft-Ainsworth, T. (2024). Marisa Mori and the Futurists: A Woman Artist in an Age
of Fascism. Woman's Art Journal, 45(1),
64+. https://link.gale.com/apps/doc/A800694406/GPS?
u=edirect_gvrl&sid=bookmark-GPS&xid=1dfdddc3
Kraft-Ainsworth, T. (2023) Marisa Mori and the Futurists: A Woman Artist in an Age
of Fascism., pp. 11–24. Available at: https://go.gale.com/ps/retrieve.do?
tabID=T002&resultListType=RESULT_LIST&searchResultsType=SingleTab&retrievalI
d=11557c77-db51-4954-95fe-
d918a37d6869&hitCount=6&searchType=BasicSearchForm&currentPosition=1&do
cId=GALE
%7CA800694406&docType=Book+review&sort=Relevance&contentSegment=ZEAI
-MOD1&prodId=GPS&pageNum=1&contentSet=GALE
%7CA800694406&searchId=R1&userGroupName=edirect_gvrl&inPS=true.
6. Surrealism
Dorothea Tanning
Dorothea Tanning (born August 25, 1910, Galesburg, Illinois, U.S.—died January 31,
2012, New York, New York).
Her paintings focused on the human figure, the unconscious mind, dream
landscapes, sexuality, and desire. Her work was linked to surrealism, and she
expanded on the goals and aesthetic components of the movement to create new
forms (Sottosanti et al., 2020).
One of her famous paintings is “Birthday (1942, Oil on canvas, 40 1/4 x 25 1/2 in.) It
was her first major painting. The irrational is constantly present in Tanning's work,
and this scene is disturbing because—like any dreamscape—it is at once strange
and familiar. Tanning's work during this period was the type of Surrealist painting
that has a strong latent eroticism, which has less to do with her bare breasts and
more to do with the writhing twigs, which upon closer inspection contain figures,
and the uncertain invitation of the open doors (Sottosanti et al., 2020).
Although she suffered early in her career from the perception that she was merely
an extension of her more famous husband, Tanning is highly acclaimed throughout
Europe where she was given a retrospective exhibition at the Centre National d'Art
Contemporain in France in 1974 (Tanning, Dorothea (1910—) | Encyclopedia.com,
n.d.). Throughout her career, Tanning explored the out of the ordinary in mediums
ranging from painting and printmaking to sculpture and poetry. In 1950 she
published a portfolio of seven lithographs, The 7 Spectral Perils, in which a solitary
female figure makes her way through a disorienting world of wild-eyed creatures
and inside-out rooms. Other publications followed. “In the kind of life we led,”
Tanning wrote of her Surrealist artist friends, “bookmaking was as necessary a part
of it as buttons on a coat.”
Citation:
Sottosanti, K., Zelazko, A., & Encyclopedia Britannica. (2020). Dorothea Tanning.
Encyclopedia Britannica.
https://www.britannica.com/biography/Dorothea-Tanning/additional-info#history
Tanning, Dorothea (1910—) | Encyclopedia.com. (n.d.).
https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-
maps/tanning-dorothea-1910
8. Pop Art
Beatriz Gonzales
Beatriz González was born in Bucaramanga, Colombia, in 1938.
Her works of the 1960s and 1970s are generally characterized by strong colors and
a sense of irony, thus bearing a relationship to pop art.
Her career unfolded amid social and political turbulence following the 10-year
period known as La Violencia (1948–58) in her native Colombia. Collaborating
closely with the United States as part of its Cold War project to exterminate
Communist activity, the Colombian government encouraged modernization projects
that promoted a narrow concept of Latin American modern art as sophisticated,
international, abstract, and, most importantly, apolitical.
“Botticelli Wash and Wear” is one of González fascinating artworks. Created in
1976, it features an acrylic painting on a towel. The piece engages in a dialogue
with iconic European art, showcasing González’s unique perspective and creativity.
She documented the political and social atmosphere of her native country through
the use of vivid colors and flat figures in representations of images from periodicals
and newspapers; González, with her trademark tongue-in-cheek humor, refers to
these as her "underdeveloped painting[s] for underdeveloped countries." (Tate,
n.d.) González is not only an internationally celebrated artist but also one of the few
living representatives of the “radical women” generation from Latin America.
Citations:
Murphy Turne, M. and The Marica and Jan Vilcek Fellow, The Cisneros Research
Institute for the Study of Art from Latin America, T.M. and J.V.F., The Cisneros
Research Institute for the Study of Art from Latin America (2024) Beatriz González |
Moma. Available at: https://www.moma.org/artists/36415 (Accessed: 12 August
2024).
Tate. (n.d.). Who is Beatriz González? | Tate.
https://www.tate.org.uk/art/artists/beatriz-gonzalez-11980/who-is-beatriz-gonzalez
9. Minimalism
Yoko Ono was born on February 18, 1933, in Tokyo, Japan.
Post-Minimalism was one of the movements she contributed to because it
encompasses more experimental and process-oriented approaches, which resonate
with Ono's exploration of art as an experience or event. She became part of a
movement that mixed poetry, music, and visual art in installations and
"happenings";
Yoko Ono is a trailblazer of early conceptual and participatory art, film, and
performance, a celebrated musician, and a formidable campaigner for world peace.
Developing her practice in the United States, Japan, and the UK, ideas are central to
her art, often expressed in poetic, humorous, profound, and radical ways.
One of her works was “Painting to be Stepped On” (1960). This was a canvas upon
which audiences were invited to tread. Most of her work during this time involved
her writing instructions for others to act upon. (Cunningham, Britannica, 2024)
As a Japanese woman in the male-dominated art world of the 1960s, Ono faced
significant discrimination. Her work was often dismissed by critics, and she was
marginalized both for her gender and her racial background. Yoko Ono was often
unfairly blamed for the breakup of The Beatles, leading to intense media scrutiny
and public animosity. This not only affected her personal life but also shaped her
work, as she explored themes of love, peace, and conflict, often using her art as a
means to counteract the negativity directed toward her. Ono’s work was also
influenced by her Japanese heritage, particularly Zen Buddhism, which emphasized
simplicity, emptiness, and the power of the mind. Her minimalist approach to art,
often using simple materials and concepts, was innovative in its ability to convey
profound ideas with minimal means.
Yoko Ono’s work was shaped by the challenges she faced and the historical context
of her time. Her innovative approaches to art, which often defied conventional
norms, continue to influence contemporary artists and the broader cultural
landscape.
Citations:
Cunningham, J. M. (2024, July 22). Yoko Ono | Biography, Art, & Facts. Encyclopedia
Britannica. https://www.britannica.com/biography/Yoko-Ono
10.Post-Modernism
Chloe Wise
Chloe Wise (born 1990) is a Canadian artist based in New York City. Wise works in
sculpture, drawing, video art, and oil painting.
Born in 1990 Montreal, Quebec, Canada.
Growing up in an affluent New York City suburb with a large Jewish population, I
heard the term Jewish American Princess make its way into conversations quite
frequently. In the past few years—and especially in light of rising expressions of
antisemitism in the United States—I have considered how stereotypes such as the
Jewish American Princess shaped my understanding of my Jewish female identity
from a young age. Recently, I noticed how strongly the Jewish American Princess
stereotype has conditioned me to connect Jewish American women with materialism
when I examined artist Chloe Wise’s Bread Bags series. For those already familiar
with the Jewish American Princess, Wise at first seems to advance the linkage
between Jewish women and materialism; however, a thorough analysis of Bread
Bags offers the opportunity to deconstruct the Jewish American Princess stereotype.
(Blog, 2021)
She is know for her series, Bread Bags series. Her art humorously engages with
themes of consumerism, perishability, and personal connections.
Wise has produced a notable body of work in oil painting. Her painting “Either it's
raining or it isn't 2021” (Oil on linen), depicts friends and acquaintances in intimate
settings, thus exploring contemporary identity and the performative aspects of
social interaction. Her detailed portraiture reinforces the exploration of real versus
constructed selves in the context of today’s media-driven society. Chloe Wise’s
artistic contributions have been recognized in the art world, with her works being
exhibited in spaces like the National Gallery of Canada, affirming her status as a
significant contemporary artist. (Meyer, 2024)
Citation:
Blog. (2021, April 7). Negotiating Jewish female identity in artist Chloe Wise’s Bread
Bags series. Feminist Studies in Religion. https://www.fsrinc.org/negotiating-jewish-
female-identity-in-artist-chloe-wises-bread-bags-series/
Meyer, I. (2024, May 13). Chloe Wise – Contemporary sculpture, video, and painting.
Art in Context. https://artincontext.org/chloe-wise/