Obelisk Art History
New York

Artworks from the MOMA, Museum of Modern Art — Page 3

moma.org
The Lovers, René Magritte

The Lovers

René Magritte, 1928
Woman with Flag, Tina Modotti

Woman with Flag

Tina Modotti, 1928
Illumined Pleasures, Salvador Dalí

Illumined Pleasures

Salvador Dalí, 1929
Tehuantepec Type, Tina Modotti

Tehuantepec Type

Tina Modotti, c. 1929
The False Mirror, René Magritte

The False Mirror

René Magritte, 1929
Untitled, Aleksandr Rodchenko

Untitled

Aleksandr Rodchenko, 1929
Ballet, Light Maquette, Aleksandra Ekster

Ballet, Light Maquette

Aleksandra Ekster, 1926-1930
Indian Dancer: From an Ethnographic Museum, Hannah Höch

Indian Dancer: From an Ethnographic Museum

Hannah Höch, 1930
Lumber, Aleksandr Rodchenko

Lumber

Aleksandr Rodchenko, 1930
Pioneer with a Bugle, Aleksandr Rodchenko

Pioneer with a Bugle

Aleksandr Rodchenko, 1930
Simultaneous Counter-Composition, Theo van Doesburg

Simultaneous Counter-Composition

Theo van Doesburg, 1929-1930
The Persistence of Memory, Salvador Dalí

The Persistence of Memory

Salvador Dalí, 1931
Couple, Harlem, James Van Der Zee

Couple, Harlem

James Van Der Zee, 1932
Family Portrait, II, Florine Stettheimer

Family Portrait, II

Florine Stettheimer, 1933
Landscape, André Breton

Landscape

André Breton, 1933
Large Still Life with Coffeepot, Giorgio Morandi

Large Still Life with Coffeepot

Giorgio Morandi, 1933
Retrospective Bust of a Woman, Salvador Dalí

Retrospective Bust of a Woman

Salvador Dalí, 1933
Ornamental Gargoyle, Chrysler Building, Margaret Bourke-White

Ornamental Gargoyle, Chrysler Building

Margaret Bourke-White, 1934
Portrait of Gala, Salvador Dalí

Portrait of Gala

Salvador Dalí, 1935
Rotorelief 1 (Optical Disks), Marcel Duchamp

Rotorelief 1 (Optical Disks)

Marcel Duchamp, 1935
Rotorelief 2 (Optical Disks), Marcel Duchamp

Rotorelief 2 (Optical Disks)

Marcel Duchamp, 1935
My Grandparents, My Parents, and I (Family Tree), Frida Kahlo

My Grandparents, My Parents, and I (Family Tree)

Frida Kahlo, 1936
Object, Méret Oppenheim

Object

Méret Oppenheim, 1936
The Nymph Echo, Max Ernst

The Nymph Echo

Max Ernst, 1936
Still Life with Old Shoe, Joan Miró

Still Life with Old Shoe

Joan Miró, 1937
Debris of an Automobile Giving Birth to a Blind Horse Biting a Telephone, Salvador Dalí

Debris of an Automobile Giving Birth to a Blind Horse Biting a Telephone

Salvador Dalí, 1938
Study for a Painting, Ad Reinhardt

Study for a Painting

Ad Reinhardt, 1938
Study for a Painting, Ad Reinhardt

Study for a Painting

Ad Reinhardt, 1938
Untitled, Ad Reinhardt

Untitled

Ad Reinhardt, 1938
Argula, Arshile Gorky

Argula

Arshile Gorky, 1939
Fulang-Chang and I, Frida Kahlo

Fulang-Chang and I

Frida Kahlo, 1937-1939
Study for a Painting, Ad Reinhardt

Study for a Painting

Ad Reinhardt, 1939
Study for a Painting, Ad Reinhardt

Study for a Painting

Ad Reinhardt, 1939
The Furniture of Time, Yves Tanguy

The Furniture of Time

Yves Tanguy, 1939
Blind Singer, William H. Johnson

Blind Singer

William H. Johnson, 1940
Collage, Ad Reinhardt

Collage

Ad Reinhardt, 1940
Newsprint Collage, Ad Reinhardt

Newsprint Collage

Ad Reinhardt, 1940
Self-Portrait with Cropped Hair, Frida Kahlo

Self-Portrait with Cropped Hair

Frida Kahlo, 1940
The Escape Ladder (from the Constellation series), Joan Miró

The Escape Ladder (from the Constellation series)

Joan Miró, 1940
Yellow Chicken, Bill Traylor

Yellow Chicken

Bill Traylor, 1939-1940
Children, William H. Johnson

Children

William H. Johnson, 1941
Migration Series No.2: The war had caused a labor shortage in northern industry. Citizens of foreign countries were returning to their native lands, Jacob Lawrence

Migration Series No.2: The war had caused a labor shortage in northern industry. Citizens of foreign countries were returning to their native lands

Jacob Lawrence, 1940-1941
Migration Series No.4:  All other sources of labor having been exhausted, the migrants were the last resource, Jacob Lawrence

Migration Series No.4: All other sources of labor having been exhausted, the migrants were the last resource

Jacob Lawrence, 1940-1941
Migration Series No.6: The trains were crowded with migrants, Jacob Lawrence

Migration Series No.6: The trains were crowded with migrants

Jacob Lawrence, 1940-1941
Migration Series No.8:  Some left because of promises of work in the North. Others left because their farms had been devastated by floods, Jacob Lawrence

Migration Series No.8: Some left because of promises of work in the North. Others left because their farms had been devastated by floods

Jacob Lawrence, 1940-1941
Migration Series No.10: They were very poor, Jacob Lawrence

Migration Series No.10: They were very poor

Jacob Lawrence, 1940-1941
Migration Series No.12: The railroad stations were at times so crowded with people leaving that special guards had to be called to keep order, Jacob Lawrence

Migration Series No.12: The railroad stations were at times so crowded with people leaving that special guards had to be called to keep order

Jacob Lawrence, 1940-1941
Migration Series No.14: For African Americans there was no justice in the southern courts, Jacob Lawrence

Migration Series No.14: For African Americans there was no justice in the southern courts

Jacob Lawrence, 1940-1941
Migration Series No.16: After a lynching the migration quickened, Jacob Lawrence

Migration Series No.16: After a lynching the migration quickened

Jacob Lawrence, 1940-1941
Migration Series No.18: The migration gained in momentum, Jacob Lawrence

Migration Series No.18: The migration gained in momentum

Jacob Lawrence, 1940-1941
Featured Collections
Metropolitan Museum of Art, New York

Metropolitan Museum of Art

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