Art timeline
20th century painting

This 1907 oil-on-canvas painting, Les Demoiselles d’Avignon (The Young Ladies of Avignon) and measuring 243.9 X 233.7 cm is the works of Pablo Picasso. The painting portrays a brothel with five women. The women faces are partially broken into angular lacking continuity. The two images in the center face the viewer while the last three have their faces painted as primitive masks. The painting depicts give naked concubines in a Barcelona brothel. The painting shows the prostitutes set in confrontational posture and two faces are shown with African descent and the other three Iberian. Historians of art claim that he inspired by tribal masks of Africa, but he vehemently denies any connection.

This is an oil-on-canvas painting, I and the village by Chagall Marc (1911). Measuring 192.1 by 151.4 cm, it illustrates a lamb’s and man’s faces superimposed on each other: on the right side, is a green face and on the left a lamb’s face. On the background, there are other images among them: a church, a succession of houses, a milkmaid, a peasant farmer and some houses that are upside down. Chagall Marc was inspired by his childhood life which he spent in an illusion like representation of pastures, a farmer, goats, simplistic house images where several of them were upside-down.

This painting was painted in 1912 by Marcel Duchamp. Duchamp used different brown shades. Named Nude descending a Staircase No. 2, the oil on canvass painting, depicts a naked feminine figure in a succession of broken panes. The movement is captured in a single image as the nude woman descends several steps. The portrayal is the Futurists’ work and the painting echoes a Cubist intelligence of partition of space. The photo was inspired by Eadweard Muybridge studies on the photographic motion. The painting was first displayed in 1913 in an exhibition that took place in 69th Regiment Armory in New York.

Named American Gothic and measuring 74.3 cm x 62.4 cm, this oil on beaverboard painting is the work of Grant Wood (1930). Both his sister and his dentist featured as models (posing as a farmer and maiden daughter). Both are in the customary roles of both men and women. The dressing of the models and the pitchfork were typical of the 19th-century than modern ones. The pitchfork portrays hard labor while the flower patterns on the female reflect domestic chores. He was inspired after visiting a cottage in Iowa and seeing a house in Carpenter Gothic style with Gothic window as its gable

The painting measuring 21x 33 cm, The Persistence of memory, was first shown to the public in 1931. This painting by Salvador Dali depicts Port Lligat which was the home of Dali. In The Persistence of memory, the flies, ants, clocks and the landscape in Port Lligat are decorations. In the painting, the dominant figure is a soft melting pocket watch. The painting symbolizes the theory that Dali held of both “softness” and “hardness.” Some people suggest that the watches depict the insignificance of time when sleeping (carol, 2006). To put it in clear, precise and concise terms, when sleeping time is inexistent but memories do exist. Perhaps this can be reflected by how Dali referred to many of his paintings,” hand-painted dream photographs.”

Painted in 1937 in and category of oil on canvas, this anti-war mural, Guernica is the works of Pablo Picasso. It’s based on the German and Italian bombing of Guernica and Basque by war aircraft in April 1937 during the Spanish Civil War. It’s painted the shades of black, white and grey so as to create convey pain and disorderly. Picasso portrays the damage and the chaos using figures. The anti-war mural reflects the catastrophe of war and the suffering that it causes on individual entities, more so the innocent citizens. The two main figures, a bull and a horse portray the Spanish tradition. For example, the silhouette and position of the body convey protest.
This oil on canvas painting, Nighthawks, is the work of Hopper Edward (1942). It has dimensions of 30X60 inches. Hopper uses real-life settings (diner set in fluorescent light, Phillies cigar poster and coffee pots). The settings portray a sense of solitude and solitary. In the settings, Hopper used his wife as the female in the bar. “Night-hawk” is similar to “night owl” and used in figurative description of a person who stays up till the wee hours of the night. Some suggestions state that the title could have been motivated by one man at the counter who had a nose resembling a beak.
The above painting, Broadway Bogie Boogie (1943), is the work of Piet Mondrian. Inn the oil on canvass painting measuring 127cm2, the painter partitions the canvas in tile patterns that are rectangular-shaped and it looks like a street.. The painting was inspired by real-life situations. The rectangular shapes were inspired by the Manhattan city grid and Piet Mondrian’s favorite type of music: the boogie woogie. Other suggestions insist that Mondrian was inspired by the impressive views of New York and the spectacular high buildings when they are viewed at night However, the marquee bright lights are portrayed and the bringing up a sense of liveliness.

This 32.25X 47.75 inches 1948 tempera, Christina’s World is the work of Andrew Wyeth. Christina, the figure in the painting, is painted stooping low on a cornfield clad in a pink-colored dress looking away from the viewer. A few strands of her hair are blown by wind and her body is set in a twisted way. In the far distance is a two-chimney barn and sheds. The horizon is brightening with dawn and the light casts real-life silhouettes on Christina’s pink dress. The painting is said to have been inspired by Anna Olson to have a degenerative muscular disorder (presumed polio) and since she didn’t have the ability of walking, she crawled around the house and the grounds.
This painting, Campbell’s Soup Can serigraphy (50.8 X 40.6 cm) is the work of Andy Warhol (1962).The painting was done in a period that is referred to as,” 1960s Pop Art movement”, an era that many of the artists’ work were inspired by the popular culture. The soup painting is one of many varieties of such soup paintings: different Campbell’s Soup. It echoes an age where the sacred names have been substituted by images of brand names and names of celebrities. To avoid imitating the much complete forms of Roy Lichtenstein, Andy Warhol decided to refer him to soup cans. He said that when he was young, his mother used to make small flowers out of the soup cans that were many in their home and therefore he had an ample chance.
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References
Carol, S. (2006). The Illustrated Timeline of Art History: A Crash Course in Words & Pictures. New York: Sterling.