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Paris World Fair 1937; German Pavilion (left) by Albert Speer with Comrades, by Joseph Thorak; (right) - USSR Pavilion with Vera Mukhina, The Worker and The Collective Farm Woman, 1937 (below) Claes Oldenburg (USA), Lipstick Ascending, Yale University, 1969 Picasso, Guernica, 1937, Paris Worlds Fair, Spanish Pavilion National Socialist (Nazi) Realism by Arno Breker, (left) Comradeship, 1940; (right) The Party, 1938 Hitler and Goebbels visit the Degenerate Art Exhibition, Munich, 1937; (insert below) German Expressionist, Max Beckmann at MoMA NYC in 1947 with 1933 painting, Departure Neo Rauch, Das Neue (The New), 2003 "We came from the people, we remain part of the people, and see ourselves as the executor of the people's will.“ Joseph Goebbels, Nazi Minister for People's Enlightenment and Propaganda: 1938 Nazi propaganda rally in Graz. (right) Hans Haacke, And You Were Victorious After All, Graz, Germany, 1988 (above, reconstruction of Nazi propaganda (1938): a public art work attacked and destroyed) Nazi Blitzkrieg: Bombing of London, 1941 Francis Bacon (British), panel from Three Studies for a Crucifixion, 1947; (right) Giacometti (Swiss), Pointing Man, 1947 Europe after the War: Existentialist Expressionism Hitler, Nazi occupation of Paris, 1940-1945 1940 - Occupation of Paris signifies the “end” of Modernism “ Hundreds of refugee European artists, scholars, and scientists came to the United States. Surrealism is the last European art movement. World center of art shifts from Paris to New York City: Émigré Modernists from Piet Mondrian to André Breton Photo of émigré artists for 1942 NYC exhibition, “Artists in Exile” Post WW II: New York “steals” the idea of Modern Art: from Paris (left) Jackson Pollock painting, 1950; Willem de Kooning painting Woman I, 1951 Max Ernst (French, born Germany, 1891–1976), exile from Paris to NYC in 1941 Europe After the Rain, 1942-44, Oil on canvas, 21x 58” Decalomania, Surrealist “Anxious Visions” André Masson (French, escape from Vichy France to NYC in 1941), Battle of Fishes, 1926, mixed media; (right) Why Did Thou Bring Me Forth from the Womb? 1925, mixed media -- Surrealist automatism Roberto Matta (Chilean, exile from Paris to NYC in 1939) Disasters of Mysticism, o/c, 1942 – Surrealist automatism Wilfredo Lam, (1902, Cuba - 1982, Paris, exile from Vichy France to NYC and Caribbean in 1942) The Jungle, gouache on paper mounted on canvas, 1943 (left) Arshile Gorky (American born Armenia 1904-1948), Painting, 1936-7, o/c, 38 x 48” Comparisons: (top) Picasso, c. 1932 and (below) Joan Miro, 1933 biomorphic Cubist Surrealism Arshile Gorky, Water of the Flowery Mill, 1944; Gorky, Virginia Landscape (Untitled, Study for Pastoral Series), 1943, Graphite, pastel and crayon on paper. Compare: (right) Roberto Matta, Birth of America, 1942 Arshile Gorky, The Liver is the Cock’s Comb, 1944, 6 x 8 ft, o/c Hans Hofmann (Bavaria,1880 - NYC,1966), (center) Still Life With Fruit and Compote, 1936, o/c; compare (right) Henri Matisse, Woman with Hat (Madame Matisse), 1905 (Fauvism); and Wassily Kandinsky, Composition IV, 1916 (Blue Rider expressionism) Hans Hofmann, (left) Afterglow, c.1940, o/c; (right) The Golden Wall, 1961, 60 x 70”, o/c “Action Painting” and “Push-Pull” color theory “The Irascibles” (Abstract Expressionists), Life Magazine cover story, 1951 Willem de Kooning, (American, born The Netherlands, 1904–1997) Orestes, 1947 compare (right) Arshile Gorky, biomorphic surrealist cubism, 1936-7 De Kooning, Gotham News, 1955; (right) detail of Gotham News “Action Painting” – Abstract Expressionism Willem de Kooning, (right) Pink Angels, 1945, o/c Woman, 1944 Oil and charcoal on canvas; H. 46, W. 32 in. (116.8 x 81.3 cm) (center) Rubens Willem de Kooning painting Woman I, 1951; Woman I, 1950-2 Jackson Pollock (1912-1956) painting in Springs NY studio, 1950 Action Painting – American Abstract Expressionism “I believe the easel picture to be a dying form.” (Guggenheim Application, 1947) Pollock, Going West, 1934-35 ; compare: Thomas Hart Benton, The Ballad of the Jealous Lover of Lone Green Valley, 1934, Oil/tempera/canvas Pollock, Flame, 1934, and Naked Man with a Knife, 1938, o/c, 50 x 36” compare David Alfaro Siqueiros (Mexican, 1896–1975), Collective Suicide, 1935 Enamel on wood with applied sections, 49" x 6' (“El Deco”) Pollock, Pasiphae, 1943; compare André Masson, Pasiphae, 1944 Surrealism (mythos and automatism) and Jungian psychoanalysis Pollock, Guardians of the Secret, 1943 (SFMoMA) Pollock, Mural, for Peggy Guggenheim, 1943 Pollock, Lavender Mist, 1950 Hans Namuth, Pollock Painting, 1951