Manet: Dejeuner sur l'herbe, 1863 | Olympia, 1863-5 | Bar at the Folies Bergeres, 1881-02| travesty of high culture subject matter and representational realism; flattening of form

Cezanne: Bibemus Quarry, 1895 | Corner Quarry, 1900-02 | Mt. St-Victoire, 1902-04 | Mt. St. Victoire, 1902-06 | Mt. St-Victoire, 1904-06 | Garden at Le Lauves, 1906 | planes of light and color in 2-D space; beginning of formal abstraction from representation

Picasso: Les demoiselles d'Avignon, 1907 | Reservoir, 1909 | Girl With Mandolin, 1911 | Accordionist, 1911| Still Life with Piano, 1911-12 | Guitar and Ceret, 1913 | Guernica, 1937 | Man with Pipe, 1968 | Matador and Nude Woman, 1970 | [see Online Picasso Project: Catalogue Raisonné] | cubism extends abstraction to formal system; prompting a focus on geometric space of picture place; continued flattening space with collage and later abstraction

Malevich, Black Circle, 1913 | Black Square, 1913/23 | Black and Red Square, 1915 | White Painting, 1918 | Aviator, 1914 | Red Square (Peasant Woman) 1915 | Suprematist Painting, 1915-16 | Supremus, 56, 1916 | Supremus 58, 1916 | Suprematist Painting, 1917 | White Cross, 1921 | post-cubism geometric abstraction inaugurates non-objective and minimal art, utopian hope in art as new transcendental space with no connection to objects

Mondrian, Grey Tree, 1911 | Composition II, 1913 | Composition 10, Black and White (Pier and Ocean), 1915 | Composition, 1921 | Composition-A. 1923 | Composition-1, 1930 | Composition 3, 1935 | Composition, 1938-39 | Composition 1939-42 | New York City-I, 1941-42 | Broadway Boogie Woogie, 1942-43 | simplification of geometric form in De Stijl also a response to what cubism started but didn't finish; geometric form associated with urban modernism, futurism, utopian views of architecture and technology | Guggenheim Collection |

Photography: a direct influence on the move to abstraction; move from painterly photography to independence of photographic image to the reaction to photography by painting. Some modern exemplars:

Alfred Stieglitz: Spring Showers, 1902 | Flatiron Building, 1903 | The Steerage, 1907 | Self-Portrait, 1907 | From the Back Window of 291, 1915 | Georgia O'Keeffe, 1919 | From the Shelton, West, 1935 | | Masters of Photography site | PBS American Masters: Stieglitz | Artsmia.org: Stieglitz |
Man Ray: "I paint what I can't photograph" | Violin d'Ingres, 1924 | Untitled, 1925-30 | Rayograph, 1926 | Tears | Primacy of Matter Over Thought, 1929 | Self-Portrait with Camera | Meret Oppenheim, 1933 | Rayographs (Eastman Archive) | Man Ray Photos | PBS American Masters: Man Ray |

Duchamp and Dada: Bride, 1912 | Nude Descending Staircase-2, 1912 | King and Queen, 1912| Readymade: Wheel, 1913 (remade, original lost) | Duchamp with Readymade | Fountain, 1917 (remade, original lost) | Fountain Exhibition Scandal and Readymades| Making Sense of Duchamp | French Duchamp site | Duchamp World Community |

Pollock: National Gallery of Art Feature | At Work in Studio-1948 | At Work in Studio-1950 | Stenographic Figure, 1942 | Male Female, 1942 | Moon Woman, 1942 | The She Wolf, 1943 | Moby Dick, 1943 | Tea Cup, 1946 | The Key, 1946 | Eyes in the Heat, 1946 | Shimmering Substance, 1946 | Cathedral, 1947 | Full Fathom Five, 1947 | Full Fathom Five (detail) | No. 3, Tiger, 1949 | Lavender Mist (No. 1), 1950 | Autumn Rhythm, 1950 (at Metropolitan Museum | Grayed Rainbow, 1953 | Easter and Totem, 1953 |

Rothko: National Gallery of Art Feature | No. 17, 1949 | No. 10, 1950 | Purple-Red-White | Untitled, 1954 (red) | Unitled, 1954 (blue) | Untitled, 1957 | No. 9, 1958 | No. 7, 1960 | No. 2, 1962 | No. 3, 1962 | Gray-Black |

De Kooning: Excavation, 1950 | Seated Woman, 1952 | Woman I, 1950-52 | Woman IV, 1952-53 | Woman V, 1952-53 | Femme et Bicyclette, 1952-53 | Composition, 1955 |

Mitchell: Evenings..., 1956 | National Gallery of Art |

Motherwell:

Johns:

Rauschenberg: SFMOMA Collection |

Frankenthaller:

Newman:

Early Pop: Hamilton, Just What Is It That Makes Today's Home So Different, So Appealing? 1956| | Warhol | Lichtenstein: Blam, 1962 | Wham, 1963 | Painting Near Window, 1963 | Grrrr!! 1965 | Shipboard Girl, 1965 |

Warhol: Brillo Box installation: 1964 | 1969 | The Warhol Museum | Warhol's works in galleries on Artnet | Warhol Museum | Warhold at Dia | Index of Warhol images
The Warhol Effect: Anti-modernist, ironic, deflating modernism's pretentions and utopianism, image conscious, capturing popular and mass media effects, mixing of high and low, commercial and fine art; detachment of artist, "factory" production without former signs of authenticity.

Twombly: beyond the Ab-Ex boundaries; writing and surface as space of inscription and drawing, gesture, scale; surface as field of signs

Kruger: feminism and ironic deconstruction | Untitled, 1985 | Kruger Melbourne Exhibition, Installation 1996 | Kruger and feminist theory: images & context |

Peter Halley: Exhibition at Waddington Galleries, London. | Bio at Guggenheim. | Works in galleries (Artnet) | Dig Dug (1997) | Couples Logic (2000) | Pulse Generator (2000) | Labyrinth (2000) | Ancillary Control (2001) | Index of images | Critique of geometric form. Post-conceptual, post-minimal, post-painting painting.

Working with the signs of modernist painting: styles detached from former meanings; Geometric form, the color field, expressionist gesture and tracks of process as a signs of modern painting