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Rothman, Roger. "Dalí's Inauthenticity." Modernism/modernity 14.3 (2007), 489-497. This shows how Dali's artwork opened the eyes of its viewers and the profound effect on art movements. It explains modern techniques and traditional techniques and methods that Dali used. In addition, it provides a critique of Dali and his artwork and how it ultimately changed art as people knew it during this time period.

scholarly.

Check citation. I think the publisher is John Hopkins Press.

Malt, Johanna. "Surrealism, Art and Modern Science: Relativity, Quantum Mechanics, Epistemology." French Studies 64.4 (2010), 502-503. Salvador Dali and Max Ernst became familiar with the philosophical views that go along with the works of Einstein, Bohr, Heisenberg, and Schrodinger. These enlightenment thinkers tied the science of physics with literature and the arts. The ideas of Physics are also known to serve as a significant connection to the deeper thoughts and practices associated with the Surrealist movement. Gaston Bacherald agrees with the ideas of space, relativity, and fourth-dimensional art likewise to Salvador Dali. These ideas of Bacherald and Dali correlate with the quantum theory in modern philosophy. Susan Whitney of the Catholic and Communist Party stresses the importance of gender relations and art. She believes that new literature will correspond with twentieth-century art.

Paris, Václav. "On Surrealism and the Art of Crime: Considered as One of the Fine Starts." Journal of Modern Literature 33.4 (2010), 190-197. This article focuses on a specific type of surrealism, known as Bretonian surrealism. It is known to have a new outlook of evidence within every piece. It tries to pin point "crime" within surreal art by emphasizing its unique aspects. He describes surrealism as a liberating and fascinating collage. Surrealism may bring "crime" because it dramatizes our senses of realism and makes us want to keep exploring for irrational experiences. The art portrays this sense of crime because it messes with our interpretation of what is real and what is not. The impossible suddenly seems possible. Surrealism has shaped modern art because of it's label as "the Art of Crime." It has shaped the way modern artists imagine and create their work by displaying its own surreal way of life. It may be viewed as bizarre, mesmerizing, or even illusory.

Davis, Mary E. "Classical Chic: Music, Fashion, and Modernism". University of California Press. 2006. Print. This book is all about Classical Chic during the modernism movement. There are many different chapters including an entire chapter on Coco Chanel. The chapter started out by talking about she influenced the 1920s and the 1930s. How she turned around the fashion of the time. She kept the ideas of the "liberated women" and applied it to all of her work. It goes through each of her steps to how she became the iconic fashion designer she is today. Also, each of the types of article of clothing that made her so iconic. It then goes on to talk about how the label as taken over after her death.

Merjian, Ara H. "FUTURISM? AT 100." Modern Painters 21.1 (2009):40-43. EBSCO. Web. 17 Nov. 2010. This article is a tribute to the 100 years that Futurism has been around. To celebrate the centenary of futurism, Modern Painters pays tribute to the movement's forward-thinking ideals. It shows how the inspiation of Filippo Tommaso Marinetti sparked groth in technology and industry.

Dalrymple-Henderson, Linda. "The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion." Leonardo 17.3 (1984): 205-210. The MIT Press. Web. 3 Nov. 2010. This article first talks about the non-Euclidean geometries in art from 1900-1930. Non-Euclidean geometry has developed a unique change in mathematics, science, and philosophy. It seemed to clarify the affiliation between mathematics and observations in science. This type of geometry was used to depart from literature-related paintings. It focused on animated, multimedia, and specifically four-dimensional (instead of three-dimensional) paintings. Rice Pereira, an American painter, found the elements of hyperspace philosophy. This philosophy included the glowing works of art that can relate to a mystical action or experience one may have encountered. Language or words is considered unreliable in this art, whereas the four dimensional paintings can speak for themselves. The imagination and enthusiasm of surrealist artists has brought hope and new ideas (like four-dimensional paintings) to modern art.

Malt, Johanna. "Surrealism, Art and Modern Science: Relativity, Quantum Mechanics, Epistemology." French Studies 64.4 (2010): 502-503. Web. 7 Nov. 2010. This article discusses how Salvador Dali and Max Ernst became familiar with the philosophical views that go along with the works of Einstein, Bohr, Heisenberg, and Schrodinger. These enlightenment thinkers tied the science of physics with literature and the arts. The ideas of Physics are also known to serve as a significant connection to the deeper thoughts and practices associated with the Surrealist movement. Gaston Bacherald agrees with the ideas of space, relativity, and fourth-dimensional art likewise to Salvador Dali. These ideas of Bacherald and Dali correlate with the quantum theory in modern philosophy. Susan Whitney of the Catholic and Communist Party stresses the importance of gender relations and art. She believes that new literature will correspond with twentieth-century art.

This review highlights the "high pitch" of the Surrealist movement in the 1930s and the 1940s. It incorporates multiple Surrealist artists, especially Salvador Dali. The author talks about the Surrealist exhibitions and their unique value that were considered to be "ideological spaces." It states that Dali was well-known artist, but eventually he became obsessed with commercialism. At this time period, society was based on consumerism and media advertisement that Dali got caught up in leading to his downfall.

scholarly. where is your MLA citation?

van Hensbergen, G. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury Publishing, 2004. Print. Guernica is still seen as a political work of art today. Guernica not only depicted the brutal bombings and aftermath of that April day but it is a depiction of what is yet to come. The horror of Guernica can still be seen in modern times; such as the attack on the Twin Towers in New York (van Hensbergen 1) and the war in Iraq (van Hensbergen 2). Many well known political figures refer to Guernica and it's political message in many speeches and addresses because its message is still relevant today.

Shapiro, Kelli. "From Modernism to McDonald's." Journal of Architectural Education 61.2 (2007): 6-14. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.\n\nSince the 1970s, the Miami Design Preservation League has been working to preserve the many Art Deco buildings in South Beach. The efforts were successful and South Beach is now a historical district. It was both interesting and informative to read that pieces of Art Deco are now considered historical and are being protected. The article mentions that some buildings have begun to deteriorate with age. Examples of historical pieces of Art Deco are included with many photographs.

Townsend, Christopher. "The Future of Futurism." Art Monthly 329 (2009):5-8. EBSCO. Web. 11 Nov. 2010. The Futurist Manifesto was first published in December of 1908in the magazine Poise. This article was written in celebration of the centennial year. It takes a look at Futurism then and now and its effects on society. One of the main points offered is that Futurism and Modernism are linked. Many little but interesting details about futurism can be found in this article.

"Surrealism and Surrealist Artists." All Buy Art. All Buy Art, 2006. Web. 10 Nov. 2010 This article is based on the history and background of modern/contemporary art and how surrealism began. Surrealism is one of the main modern art movements in the twentieth century. Expressionism, Futurism, Impressionism, minimalist, Op Art, Post impressionism, Fauvism, and other Abstract art movements have all been a part of shaping Surrealism. It is the combination of all art movements and theories that influences art today. Surrealism is known to clarify images of life as the artist sees it. It does not limit or restrict any immoral interpretations of life, but rather expresses it in an open-minded way. Surrealism expresses all irrational thoughts and makes the art lively and thrilling. It tends to raise disordered thoughts or questions, but it is meant to express fantasies, mysteries, and illusions as a temporary reality.

Soth, Lauren. "Van Gogh's Agony." Art Bulletin 68.2 (1986): 301. Academic Search Complete. EBSCO. Web. 14 Nov. 2010. According to Soth's interpretation of Starry Night, Van Gogh is trying to get the message across that he has lost his faith in the Catholic Church. The painting goes beyond reality and he uses his imagination to create his depiction of nature. The painting represents Van Gogh's modern art style.

Critchell, Samantha. "Seventies look in spring fashion mirrors modern tastes and times." DailyNews Los Angeles. Los Angeles Newspaper Group. 24 Oct. 2010. Web. 1 Nov. 2010. In this article, written by Samantha Critchell, she compares the styles of the nineteen-seventies to today. In popular fashion shows, like ones in Milan, styles of the seventies are making a comeback. Some seventies fashion consists of high-wasted skirts, flowing shirts, long dresses, trousers, and shirtdresses. The colors and patterns are distinct, which makes this decade of fashion really stand out. This article is helpful in comparing and relating seventies fashion to today's fashion.

This is a review on the pop-art artist Roy Lichtenstein. The review starts out by saying that Roy Lichtenstein is one of the first people to have a massive exhibit while he is still alive, and one would think that his art would be amazing because of this (one critic in particular does not like his work and calls it dumb and awkward.) The author of this review goes on to tell us a little bit about Lichtenstein's life, his style and his artwork. She then talks about the art that Roy Lichtenstein creates, "it would seem quite dull if it were not for the jazzy images he has appropriated from a wide range of twentieth-century sources in both high and low art." This article is a good starting point about getting to know the artist and how his art is viewed. 

Kimmelman, Michael. "At the Met With: Roy Lichtenstein; Disciple Of Color And Line, Master Of Irony." New York Times 31 Mar. 1995: 1. Academic Search Complete. EBSCO. Web. 9 Nov. 2010. This is an interview that was conducted between Mr. Roy Lichtenstein, and Mr. Michael Kimmelman. This is a good article to have because it gives actual quotes from Roy Lichtenstein. This article talks about how Lichtenstein really shocked the art world with his paintings. It talks about the different Eras that he had painted in. The 70's focusing on reinterpretations of famous paintings, and the 80's and 90's bringing in bright colors and new brush-strokes. The article holds a lot of nice lines from Lichtenstein that talk about how he feels his art is portrayed (I don't think storytelling has anything to do with modern painting or with my paintings at least.) The article will help to put an actual feel for who Roy Lichtenstein was in my paper.

Rosemblum, R. Picasso and the War Years: 1937-1945. New York: Thames and Hudson Inc., 1998. Print. Picasso's political choices are referred to. Picasso was apart of the the Spanish Republic. According to Picasso, while the painting hung in the Museum of Modern Art in New York, it was not a political piece it was simply a depiction of the horrible events of the bombing of the village of Guernica. However, later Picasso told one of his friends that Guernica is a political statement that hangs "in the middle of New York City" (Rosemblum 73). Nazi Germany ignored Picasso's works and called it "the work of a either a lunatic or a of a four-year-old" (Rosemblum 72), although it was a political statement to Nazi Germany and what they did to damage Picasso's homeland of Spain.

Schwartz, Alexandra.  "Andy Warhol and 'Flash'".  MoMa.  The Museum of Modern Art, 1974. 6. Print.