As the European public grew increasingly hard to scandalize, Duchamp crossed the Atlantic to stir up more trouble. Marcel Duchamp, Nude Descending a Staircase, No ... by Dr. Tom Folland
Kirchner’s claustrophobic city scene reflects on a culture where everything is for sale. Ernst Ludwig Kirchner, Street, Berlin by The Museum of Modern Art
“Wearing” would be much too strong a word for this woman’s relationship to her shirt. Amedeo Modigliani, Young Woman in a Shirt by Dr. Steven Zucker and Dr. Beth Harris
Jawlensky rejected the principles of his arts education in order to embrace Expressionism at its most extreme. Alexej von Jawlensky, Young Girl in a ... by Dr. Steven Zucker and Dr. Beth Harris
The architectural forms of a dream are constructed as a stage set, ready to be taken apart and reconfigured. Alberto Giacometti, The Palace at 4 a.m. by Dr. Beth Harris and Dr. Steven Zucker
Matisse borrows brushwork technique from his pal Signac—but don’t call him a Pointillist just yet. Henri Matisse, Luxe, calme et volupté by Dr. Beth Harris and Dr. Steven Zucker
Kirchner defines his city with only the figures: there is not a building in view. Ernst Ludwig Kirchner, Street, Dresden by Dr. Juliana Kreinik, Dr. Steven Zucker and Dr. Beth Harris
Picasso loved the magic of illusionism—but here, he shatters it. Pablo Picasso, Les Demoiselles d’Avignon by Dr. Beth Harris and Dr. Steven Zucker
You know that painting from third grade your mom won’t take off the fridge? This is different. Mostly. Henri Matisse, Dance I by Dr. Beth Harris and Dr. Steven Zucker
Though its languid poses reference Titian, this was regarded as the most radical painting of its day. Henri Matisse, Bonheur de Vivre by Dr. Beth Harris and Dr. Steven Zucker