T he Annotated Mona Lisa A CRASH COURSE IN ART HISTORY FROM PREHISTORIC TO POST-MODERN Carol Strickland, Ph.D., and John Boswell Book Designer: Barbara Cohen Aronica Assistant Designer: Jan Halper Scaglia Cover Designer: Rich Rossiter Photographic Researcher: Toby Greenberg Managing Editor: Patty Brown A John Boswell Associates Book Andrews and McMeel A Universal Press Syndicate Company Kansas City In memory of my Mother and Father, Rebecca and John Colclough To the families in New Orleans and Memphis, thanks for your encouragement. And to Sid, Alison, and Eliza, special gratitude for your enthusiasm when it began to seem the adage "Vita brevis est, ars longa" was all too true. —C. S. Abbreviations used in text: MMA Metropolitan Museum of Art MoMA Museum of Modern Art Whitney Whitney Museum of American Art NG National Gallery The Annotated Mona Lisa copyright © 1992 by John Boswell Management, Inc. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the context of reviews. For information, write Andrews and McMeel, a Universal Press Syndicate Company, 4520 Main Street, Kansas City, Missouri 64111. Typeset in Simoncini Garamond and Futura by TAW, Inc., Wilton, Connecticut Library of Congress Cataloging-in-Publication Data Strickland, Carol. The annotated Mona Lisa: a crash course in art history from prehistoric to post-modern/Carol Strickland and John Boswell. p. cm. ISBN 0-8362-8009-1. — ISBN 0-8362-8005-9 (paperback) 1. Art—History—Outlines, syllabi, etc. I. Boswell, John, 1945-. II. Title. N5302.S76 1992 709 dc20 92-27904 CIP 03 04 05 BAM 20 19 18 17 16 15 ATTENTION: SCHOOLS AND BUSINESSES Andrews and McMeel books are available at quantity discounts with bulk purchase for educational, business, or sales promotional use. For information, please write to: Special Sales Department, Andrews and McMeel, 4520 Main Street, Kansas City, Missouri 64111. PHOTO CREDITS Numbers in parentheses indicate page numbers. Kunsthistorisches Museum, Vienna (6T, 4lB) Courtesy National Museum of the American Indian, Smithsonian Institution (20TL, 20TR, 20CR, 20BR) KEY: T = top, B = bottom, L - left, R = right, C = center Library of Congress, Washington, D.C., Rudy Vetter Photography (59, 93BR, 126T, 127, 142B, 147T, 153B, 157BL) Courtesy The New-York Historical Society (72) Berenice Abbott/Commerce Graphics Ltd., Inc. (184T) Longchamps-Delehaye SPADEM (29CR) Norton Simon Museum (177) ©1992 By the Trustees of the Ansel Adams Publishing Rights Trust. All Marburg/Art Resource, New York (146) Offentliche Kunstsammlung Basel Kunstmuseum, Basel, Switzerland (123B, Rights Reserved (185T) 144,149T) Mauritshuis, The Hague (55L) Agyptisehes Museum der staatlichen Museen Preubischer Kulturbesitz, Photograph courtesy The Pace Gallery, New York (187) Berlin (2, 9B) Courtesy Metro Pictures, New York (191T) © Richard Payne. AIA 1989 (180Li Albright-Knox Art Gallery, Buffalo, N.Y., Gift of Seymour H. Knox, 1957 The Metropolitan Museum of Art, New York: Fletcher Fund, 1956 (12B); (161L), 1963 (175); George B. and Jenny R. Mathews Fund, 1970 (165BR) Fletcher Fund, 1919 (43); The Michael C. Rockefeller Memorial Collection, Philadelphia Museum of Art: Given by Mr. and Mrs. Herbert Cameron Bequest of Nelson A. Rockefeller, 1979 (20BC); Gift of Irma N. Straus, Morris (21BL, 157CR); Mr. and Mrs. Carroll S. Tyson Collection (105); Alinari/Art Resource, New York (13C, 35T, 39T, 44,49T, 49B, 71TR) 1960 (24); Gift of John D. Rockefeller, Jr., The Cloisters Collection, 1937 George W. Elkins Collection (116T); The W. P. Wilstach Collection (117); Arch. Phot. Paris/SPADEM (26TR) (29B); Gift of Junius S. Morgan, 1919 (42); Bequest of Benjamin Altman, Louise and Walter Arensberg Collection (148B, 150T) 1913 (55R); Gift of Mr. and Mrs. Charles Wrightsman, 1978 (62T); Robert Photograph © 1992 The Art Institute of Chicago: Helen Birch Bartlett Lehman Collection, 1975 (70T); Gift of Mrs. Russell Sage, 1908 (81); Rogers The Phillips Collection, Washington, D.C. (78R) Memorial Collection, 1926 (66,114T), 1928 (113 second from L, 115); Har Fund, 1907 (82T); Morris K.Jesup Fund, 1933 (82B); Bequest of Mrs. H. Princeton University Library, Princeton, N.J. (91R) riott A. Fox Fund, 1956 (61T, 163R); Friends of American Art Collection, O. Havemeyer, 1929, The H. O. Havemeyer Collection (83T, 107, 108,109, 1930 (I56TR), 1942 (156C) 157TR); Gut of Cornelius Vanderbilt, 1887 (83B); Bequest of Catharine Museum Reitberg, Zurich (22T) Art Resource, New York (25B); Art Resource, New York/Artists Rights Lorillard Wolfe, 1887, Catharine Lorillard Wolfe Collection (84BL); Rijksmuseum Foundation, Amsterdam (53T, 53B, 54,56) Society (163L) Catharine Lorillard Wolfe Fund, Catherine Lorillard Wolfe Collection, 1963 (88T); Gift of Christian A. Zabriskie, 1950 (85T); Amelia B. Lazarus The Royal Photographic Society, Bath, England (95) Austrian Cultural Institute, New York (4T) Fund, 1910 (85B); Gift of Charles Bregler, 1941 (86B); Bequest of Edith Scala/Art Resource, New York (26B, 32B, 33B, 38T, 38B, 46BL, 46BR, 50, Minturn Phelps Stokes, 1938 (61L, 88B); Gift of Ruth and Frank Stanton, Otto Baitz Photography (14B, 181B) 60,61B, 74,75,98TR, 98TL, 149B, 157TL) 1978 (91L); Bequest of Sam A. Lewisohn, 1951 {113 second from R, 119); Photograph © 1992 The L .rnes Foundation (23T) Bequest of Miss Adelaide Milton deGroot (120); Gift of Mr. and Mrs. Ira Reproduced by permission of the Trustees of the Science Museum (93T) Haupt, 1950 (136T); The Elisha Whittelsey Collection, The Elisha Whit- Courtesy Margaret Bourke-White Estate, Reproduced from the Margaret telsey Fund, 1947 (136BL); George A. Heam Fund, 1970 (156BR), 1956 Smithsonian Institution, Washington, D.C. (20BL) Bourke-White Collection, George Arents Research Library, Syracuse Uni (159T); Arthur Hoppock Heam and George A. Heam Funds, 1977 (161R); Courtesy Sonnabend Gallery, New York (186B) versity (184B) Arthur Hoppock Heam Fund, 1963/Courtesy Blum Helman Gallery, New Bridgeman/Art Resource, New York (89) York (17 IT) Staatlichc Antikensammlungen und Glyptothek Munctien, photograph by Studio Koppermann (12T) Reproduced by Courtesy of the Trustees of The British Museum, Courtesy Laurence Miller Gallery, New York (185B) Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister (71TL) London (7B, 8) The Minneapolis Institute of Arts (13R, 110,141) Statens Konstmuseer/Moderna Museet (140,172) The Brooklyn Museum (154T) Michael Moran Photography, New York (182) Statens Museum fur Kunst, Copenhagen (134T) Briicke-Museum, Berlin (142T) Musee d'Orsay, Paris, © Photo R.M.N. (61C, 71BL, 84T, 87B, 97TR, 97BR, The Carnegie Museum of Art, Pittsburgh; Patrons Art Fund (132, 99,104,106,113L, 113C, 114B, 116B) Tate Gallery/Art Resource, New York (SOT, 174) 157BR, 188) Musee du Louvre, Paris, ©Photo R.M.N. (Introduction, 34, 51T, 51B, 62B, The Board of Trinity College, Dublin (27B) Henri Carder-Bresson/Magnum (152B) 64,69T, 70B, 76,77,98TC, 98RC) Courtesy Jerry Uelsmann (186T) © 1981 Center for Creative Photography, Arizona Board of Regents (153C) Siege Social et Musee du Vieux Toulouse/Photo Reportage YAN Ulmer Museum, Germany (138T) (26TL, 26TC) The Cleveland Museum of Art: John L. Severance Fund (103); Gift from J. Courtesy The University of Pennsylvania Collection of Art, Philadelphia H. Wade, (125); Hinman B. Hurlbut Collection (155T) Musee Marmottan, Paris (96) (86T) CNMHS/SPADEM (111); J. Seuillie (27TL, 28BR, 29T, 63T) Musee National d'Art Moderne, Centre Georges Pompidou, Paris The University of Texas at Austin, Gernsheim Collection, Harry Ransom (71BR, 190B) Humanities Research Center (92L) Courtauld Institute Galleries, London (97BL, 101,121) Musees Royaux des Beaux-Arts de Belgique, Brussels (69B) Van Gogh Museum, Amsterdam; Vincent Van Gogh Foundation The Detroit Institute of Arts: Gift of Dexter M. Ferry, Jr. (87T); Gift of Dr. and Mrs. Hilbert H. DeLawter (167T) Museo Archeologico, Naples (25C) (113R, 122) Egyptian Museum, Cairo (7TC, 9T, 10) Museo del Prado/SPADEM (137,157CL) Victoria and Albert Museum/An Resource, New York (90R) Egyptian Tourist Authority, New York (1 IB) Courtesy Museum of Fine Arts, Boston: Gift of Joseph W., William B., and Virginia Division of Tourism (14C) Edward H. R. Revere (73T); Jointly owned by Museum of Fine Arts, Virginia Museum of Fine Arts (189) English Heritage, London (5) Boston, and National Portrait Gallery, Washington, D.C. (73B); Gift of © The Equitable Life Assurance Society of the United States (155B) Quincy Adams Shaw through A. Shaw, Jr., and Mrs. Marian Shaw Collection Walker Art Center, Minneapolis; Gift of the T. B. Walker Haughton (84BR); Juliana Cheney Edwards Collection (97TL, 102R) Foundation (164T) The Fine Arts Museums of San Francisco, Mildred Anna Williams Collection (52) Collection, The Museum of Modern Art, New York: Gift of Lee Krasner in ©1992 The Andy Warhol Foundation for die Visual Arts, Inc/Artists memory of Jackson Pollock (21BR); Acquired through the Lillie P. 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Chrysler, Jr. (138B); The Sidney and Harriet funds from the Friends of the Whitney Museum of American Art (160C, Giraudon/Art Resource, New York (23B, 4lT, 45,6lR, 65B, 78L, 98BL, Janis Collection U45T); Purchase (148T, 15IT, 160T); Mrs. Simon Guggen 166R); Purchase (170L); 50th Anniversary Gift of the GUman Foundation, 100); Artists Rights Society (131,136BR) heim Fund (150B); The Abbott-Levy Collection, Partial gift of Shirley C. Inc., The Lauder Foundation, A. Alfred Taubman, an anonymous donor, Burden (152L); Gift of James Thrall Soby (152TR); Gift of Alfred Stieglitz and purchase (173); 50th Anniversary Gift of Mr. and Mrs. Victor W. Ganz David Heald © The Solomon R. Guggenheim Foundation: New York (153T); Benjamin Scharps and David Scharps Fund (162T); Commissioned (176T); Purchase, with funds from the Louis and Bessie Adler Foundation, (147B. 160B); Partial gift of the artist, 1989 (178) by the Advisory Committee for the stairwell of the Museum (164B); Robert Inc., Seymour M. Klein, President, the Gilman Foundation, Inc., the Collection Haags Gemeentemuseum, The Hague (145BL, 145BR) O. Lord Fund (165TR); Gift of Stephan Franklin (165L); Gift of Philip Howard and Jean Lipman Foundation, Inc., and the National Endowment Johnson (176BL) for the Arts (176BR); Purchase, with funds from anonymous donor (190T); © 1992 The Keith Haring Estate (193) Gift of Brooke and Carolyn Alexander (191B); Purchase, with funds from Harvard University, Peabody Museum (20C) Museum of the Gty of New York, The Jacob A. Riis Collection (94T, 157C) the Louis and Bessie Adler Foundation, Inc., Seymour M. Klein, President Nasjonalgalleriet Munch-museei, Oslo (123T) (192) Hellenic Republic Ministry of Culture (14T, 16B) Reproduced by Courtesy of the Trustees, The National Gallery, London Windsor Castle, Royal Library. © 1992 Her Majesty Queen Elizabeth II Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Wash (32T, 40,57,79, SOB) (35B) ington, D.C.: The Joseph H. Hirshhorn Foundation (128, 166L); Gift of the Joseph H. Hirshhorn Foundation, 1966 (167B, 168, 170R); Photograph by © 1992 National Gallery of Art, Washington, DC: (58L, 98BR, 159B); ILLUSTRATIONS LeeStalsworth, 1981 (171B) Chester Dale Collection, 1894 (102L); Ailsa Mellon Bruce Fund, 1950 (I35B), 1913 (143) Luci Betti (6B, 7TL, 11T, 17T, 28TR) Henry E. Huntington Library and Art Gallery, San Marino, CA(58R) National Gallery of Scotland. Scottish National Portrait Gallery, Ken Scaglia(15,30) International Museum of Photography at George Eastman House, Edinburgh (118) Rochester, N.Y. (92R, 93BL, 94B) National Museum of American Art, Smithsonian Institution, Washington, Courtesy The Italian Government Tourist Office, New York (16T, 17B, D.C./Art Resource, New York (162B) 18T, 19,25T, 33T, 36, 37T, 37C, 37B, 39C, 39B, 48) CONTENTS INTRODUCTION: HOW TO LOOK AT A PAINTING x AFRICAN ART: THE FIRST CUBISTS 22 Religion shapes art of wooden masks, elongated sculpture; semiabstract forms influence modern art. THE BIRTH OF ART: Influence of Tribal Art PREHISTORIC THROUGH MEDIEVAL 1 THE MIDDLE AGES: THE REIGN OF RELIGION 24 Roots of painting, sculpture, architecture established. Spiritual art to inspire religious devotion replaces lifelike portrayal. PREHISTORIC ART: THE BEGINNING 4 Art begins c. 25,000 B.C. with first surviving sculpture, cave GOLDEN AGE OF BYZANTINE ART 24 paintings, huge stone monuments for rituals. Icons, Mosaics, Hagia Sophia Stonehenge ROMANESQUE ART: STORIES IN STONE 26 MESOPOTAMIA: THE ARCHITECTS 6 Giotto, Romanesque vs. Gothic styles, First cities built with mammoth temples called ziggurats Illuminated Manuscripts and palaces lined with bas-relief sculpture. The pyramid form through the ages GOTHIC ART: HEIGHT AND LIGHT 28 Architectural Terms, Sculpture, Stained Glass, EGYPT: THE ART OF IMMORTALITY 8 Tapestry Tomb art developed with wall paintings; statues conform ing to rigid conventions for 3,000 years; colossal architec ture (pyramids) constructed. THE REBIRTH OF ART: Paintings, Sculpture, Mummies, Pyramids, RENAISSANCE AND BAROQUE 30 Tutankhamen's Tomb Artists rediscover how to represent human figure GREECE: THEY INVENTED A LOT MORE THAN THE realistically, overcome technical limitations. OLYMPICS 12 Striving for ideal beauty results in sculpture, architecture, THE RENAISSANCE: THE BEGINNING OF vase painting with balance, proportion, harmony; style MODERN PAINTING 32 called "Classical" because it set standard for technical Classic art reborn due to breakthrough discoveries like perfection. anatomy and perspective; influence spreads from Italy Vase painting, Sculpture, Architecture, throughout Europe. Greek art styles Four Technical Breakthroughs, Early Renaissance Masters, Masaccio, Donatello, ROME: THE ORGANIZERS 16 Botticelli Empire produces realistic portrait sculpture, idealized busts of emperors, engineering wonders like aqueducts and are THE ITALIAN RENAISSANCE 34 nas based on arch, vault, dome. Heroes of the High Renaissance, Leonardo, Greek vs. Roman styles, Architecture, Michelangelo, Raphael, Titian, Architecture Sculpture, Colosseum, Pompeii THE NORTHERN RENAISSANCE 40 PRE-COLUMBIAN ART OF THE AMERICAS: NEW WORLD Italian vs. Northern Renaissance styles ART WHEN IT WAS STILL AN OLD WORLD 20 Native Americans create stylized human and animal forms THE RENAISSANCE IN THE LOW COUNTRIES 40 in ceremonial objects. Van Eyck, Bosch, Bruegel Mound-Builders, 20th-century adaptations THE GERMAN RENAISSANCE 42 Holbein, Diirer, Graphic Arts GOYA: MAN WITHOUT AN "ISM" 74 MANNERISM AND THE LATE RENAISSANCE 44 Nonconformist denounces human hypocrisy. THE SPANISH RENAISSANCE 45 ROMANTICISM: THE POWER OF PASSION 76 BAROQUE: THE ORNATE AGE 46 Interest in exotic subjects born; goal of art to express Grandiose art approaches theater with spotlight effect, emotion. emotional appeal. FRENCH ROMANTICISM 76 ITALIAN BAROQUE 47 Gericault, Delacroix, Neoclassic vs. Caravaggio, Gentileschi, Bernini, Borromini, Romantic styles, Artist's Palette Tiepolo ENGLISH ROMANTICISM 79 FLEMISH BAROQUE 50 Constable, Turner Rubens, Van Dyck AMERICAN ROMANTICISM AND GENRE PAINTING 81 DUTCH BAROQUE 52 Cole, Bierstadt, Church, Bingham Still life, Landscape, Ruisdael, Hals, Rembrandt, Vermeer, Old Masters REALISM 83 New view of art's function arises; artists show life of streets ENGLISH BAROQUE 57 without retouching reality. Hogarth, Art of Social Criticism, Daumier, Bonheur Gainsborough, Reynolds, Royal Academy, St. Paul's Cathedral FRENCH REALISM 84 Courbet, Corot, Millet SPANISH BAROQUE 60 Velazquez's influence AMERICAN REALISM 85 Homer, Eakins, Whistler, Sargent, Harnett FRENCH BAROQUE 62 La Tour, Poussin, Claude, Versailles ARCHITECTURE FOR THE INDUSTRIAL AGE 89 Architects renounce past styles; buildings reflect new ROCOCO 64 technology. Watteau, Boucher, Fragonard, Crystal Palace, Eiffel Tower, Arts and Crafts Interior Design, Gaudi Movement ART NOUVEAU 91 THE NINETEENTH CENTURY: Decorative style of flowing lines opposes Machine Age. BIRTH OF THE "ISMS" 66 Beardsley, Tiffany France dominates art leadership for next 200 years as styles BIRTH OF PHOTOGRAPHY 92 come and go. New art form born; captures world with unmatched accuracy. NEOCLASSICISM: ROMAN FEVER 68 Inventors: Niepce, Daguerre, Talbot, Greek and Roman forms revived. Types of Photography, Impact on Painting FRENCH NEOCLASSICISM 69 IMPRESSIONISM: LET THERE BE COLOR AND LIGHT 96 David, Ingres, Odalisques through the ages French artists paint outdoors to record changing effects of light, launch art revolution. AMERICAN NEOCLASSICISM 72 Hallmarks of Impressionists' Styles, Peak, Copley, Stuart Landmark Paintings, Manet, Monet, Renoir, Degas, Cassatt, Morisot, Pissarro, Graphic Arts, Japanese Woodblock Prints RODIN: FIRST MODERN SCULPTOR 110 FUTURISM 139 Boccioni Rodin brings sculpture into modern era. POST-IMPRESSIONISM 112 CONSTRUCTIVISM 140 French painters blaze trails by using color to express Tatlin, Malevich, Popova emotion and simulate depth. Hallmarks of Post-Impressionists' Styles, PRECISIONS 141 Seurat, Toulouse-Lautrec, Cezanne, O'Keeffe Gauguin, Van Gogh EXPRESSIONISM 142 EARLY EXPRESSIONISM 123 Die Briicke, Kollwitz, Kirchner, Nolde, Form and color distorted to convey feelings. Der Blaue Reiter, Kandinsky, Klee, Munch, Modersohn-Becker "Degenerate" Art SYMBOLISM 124 MONDRIAN: HARMONY OF OPPOSITES 145 Artists turn to subjective imagery, fantasy. Mondrian devises purely geometric art. Rousseau, Redon, Ryder MODERNIST ARCHITECTURE: THE BIRTH OF MODERN ARCHITECTURE 126 GEOMETRY TO LIVE IN 146 New functions demand new forms; skyscraper invented. International Style develops sleek, simple forms. Sullivan Gropius, Mies van der Rohe, Le Corbusier, Wright THE TWENTIETH CENTURY: MODERN ART 128 DADA AND SURREALISM: ART BETWEEN THE WARS 148 Art styles shift each decade; trend toward nonrepresenta- Dada defies logic; Surrealist artists explore world of dreams tional art increases. and the unconscious. Duchamp, Arp, Schwitters, Miro, FAUVISM: EXPLODING COLOR 130 Chirico, Ernst, Chagall, Dali, Magritte French painters warp color to express subjective response rather than object's appearance. PHOTOGRAPHY COMES OF AGE 152 Vlaminck, Derain, Dufy, Rouault Photography reflects trends with both surreal and geometric compositions. TWENTIETH-CENTURY SCULPTURE: A NEW LOOK 133 Man Ray, Atget, Cartier-Bresson, Stieglitz, Sculpture simplified into abstract symbols. Weston, Lange Brancusi, Modigliani AMERICAN ART: 1908-40 154 TWIN TITANS OF THE TWENTIETH CENTURY: American Realists focus on social concerns, daily life. MATISSE AND PICASSO 134 Ash Can School, Sloan, Bellows, American Matisse simplifies, Picasso fractures forms. Scene Painters, Benton, Wood, Hopper, Matisse, Picasso Social Realism, Bearden, Social Protest Art CUBISM 138 ABSTRACT EXPRESSIONISM 158 Picasso, Braque overthrow Renaissance perspective, splinter Action painters smash art tradition, create first U.S. form to show simultaneous views of object. movement to influence world art. Analytic Cubism, Synthetic Cubism: Gris, Leger Gorky, Pollock, de Kooning, Kline, Hofmann, Still, Motherwell MODERNISM OUTSIDE OF FRANCE 139 New concept of art spreads: less concerned with subject or outside world, more concerned with color, line, shape. CONCEPTUAL ART: INVISIBLE VISUAL ART 178 FIGURAL EXPRESSIONISM: NOT JUST A PRETTY FACE 162 Idea rather than art object dominates. Artists seek visceral effect by distorting figures. Process Art, Environmental Art, Dubuffet, Outsider Art, Bacon, Kahlo Performance Art, Installations POST-WAR SCULPTURE 164 CONTEMPORARY ARCHITECTURE 180 Nonrepresentational sculptors experiment with varied Post-Modern triumphs with return to historical references. materials and forms. Pei, Johnson, Beaubourg, Graves, Gehry, Moore, Calder, Smith, Bourgeois, Venturi, Survey of Architecture Nevelson PHOTOGRAPHY: WHAT'S NEW 184 COLOR FIELD 166 Realism and fantasy both evident. Americans rely on fields of color to convey message of art. Abbott, Bourke-White, Adams, Rothko, Newman, Frankenthaler, Louis Street Photography, Uelsmann, Baldessari PHOTO-REALISM 187 THE TWENTIETH CENTURY AND BEYOND: Painting imitates the camera. CONTEMPORARY ART 168 Estes, Flack, Close, Hanson Experimentation continues as styles, materials, techniques NEO-EXPRESSIONISM 188 change rapidly. Powerful subject matter revived. Beuys, Kiefer, Clemente, Baselitz, HARD EDGE 170 Basquiat Artists use large geometric shapes to show how colors interact THE NEW BREED: POST-MODERN ART 190 Albers, Noland, Kelly, Stella Multiple styles with social criticism common. Appropriation Art: Schnabel; PRE-POPART 172 Photography-Derived Art: Kruger, Sherman, Recognizable objects return to art. Longo; Narrative Art: Fischl; Graffiti Art: Rauschenberg, Johns Haring; Political Art, Post-Modern Sculpture, Up-and-Comers POPART 174 Consumer culture permeates art. INDEX 195 Lichtenstein, Warhol, Oldenburg, Segal, Op Art MINIMALISM: THE COOL SCHOOL 177 Artists strip sculpture to simplest elements, pure form with out content. Judd, Andre, Flavin, LeWitt, Morris, Serra