Museum of Modern Art in the context of "Pop art"

The Western canon is the embodiment of high-culture literature, music, philosophy, and works of art that are highly cherished across the Western world, such works having achieved the status of classics.

Recent discussions upon the matter emphasise cultural diversity within the canon. The canons of music and visual arts have been broadened to encompass often overlooked periods, whilst recent media like cinema grapple with a precarious position. Criticism arises, with some viewing changes as prioritising activism over aesthetic values, often associated with critical theory, as well as postmodernism. Another critique highlights a narrow interpretation of the West, dominated by British and American culture, at least under contemporary circumstances, prompting demands for a more diversified canon amongst the hemisphere.

Monument to Balzac is a sculpture by Auguste Rodin in memory of the French novelist Honoré de Balzac. According to Rodin, the sculpture aims to portray the writer's persona rather than a physical likeness. The work was commissioned in 1891 by the Société des Gens de Lettres and a full-size plaster model was displayed in 1898 at a Salon in Champ de Mars. After coming under criticism the model was rejected by the Société and Rodin moved it to his home in Meudon. On 2 July 1939 (22 years after the sculptor's death) the model was cast in bronze for the first time and placed on the Boulevard du Montparnasse at the intersection with Boulevard Raspail.

Casts and various studies of the sculpture are today in many different collections including the Ackland Art Museum, Middelheim Open Air Sculpture Museum in Antwerp, The Norton Simon Museum of Art, the National Museum of Western Art in Tokyo, the Musée Rodin in Meudon, the Rodin Museum in Philadelphia, the Hirshhorn Museum, the Hirschhorn Sculpture Garden (Smithsonian) in Washington D.C, The Metropolitan Museum of Art, the Museum of Modern Art in New York City, the National Gallery of Victoria in Melbourne, the Ashmolean Museum in Oxford, in front of the Van Abbemuseum, Eindhoven, Netherlands, in Caracas, Venezuela in the open spaces around the former Ateneo de Caracas, now UNEARTES and Balzac in the Robe of a Dominican Monk in Museo Soumaya in Mexico City. Today the artwork is sometimes considered the first truly modern sculpture.

Postmodern architecture is a style or movement which emerged in the 1960s as a reaction against the austerity, formality, and lack of variety of modern architecture, particularly in the international style championed by Philip Johnson and Henry-Russell Hitchcock. The movement was formally introduced by the architect and urban planner Denise Scott Brown and architectural theorist Robert Venturi in their 1972 book Learning from Las Vegas, building upon Venturi's "gentle manifesto" Complexity and Contradiction in Architecture, published by the Museum of Modern Art in New York in 1966.

The style flourished from the 1980s through the 1990s, particularly in the work of Scott Brown & Venturi, Philip Johnson, Charles Moore and Michael Graves. In the late 1990s, it divided into a multitude of new tendencies, including high-tech architecture, neo-futurism, new classical architecture, and deconstructivism. However, some buildings built after this period are still considered postmodern.

Cubism is an early-20th-century avant-garde art movement which began in Paris. It revolutionized painting and the visual arts, and sparked artistic innovations in music, ballet, literature, and architecture.

Cubist subjects are analyzed, broken up, and reassembled in an abstract form. Instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force" leading him to add a shamanistic aspect to his project.

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez's confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.

Abigail Greene Aldrich Rockefeller (October 26, 1874 – April 5, 1948) was an American socialite and philanthropist. She was a prominent member of the Rockefeller family through her marriage to financier and philanthropist John D. Rockefeller Jr., the son of Standard Oil co-founder John D. Rockefeller Sr. Her father was Nelson W. Aldrich, who served as a Senator from Rhode Island. Rockefeller was known for being the driving force behind the establishment of the Museum of Modern Art. She was the mother of Nelson Rockefeller, who served from 1974 to 1977 as the 41st vice president of the United States.

Lizzie Plummer Bliss (April 11, 1864 – March 12, 1931), known as Lillie P. Bliss, was an American art collector and patron. At the beginning of the 20th century, she was one of the leading collectors of modern art in New York. One of the lenders to the landmark Armory Show in 1913, she also contributed to other exhibitions concerned with raising public awareness of modern art. In 1929, she played an essential role in the founding of the Museum of Modern Art. After her death, 150 works of art from her collection served as a foundation to the museum and formed the basis of the in-house collection. These included works by artists such as Paul Cézanne, Georges Seurat, Paul Gauguin, Henri Matisse, Pablo Picasso and Amedeo Modigliani.

Mary Quinn Sullivan (November 24, 1877 – December 5, 1939), born Mary Josephine Quinn, was a pioneering collector of European and American modern and contemporary art and gallerist, and a founding trustee of the Museum of Modern Art, which opened in rented space in New York City in November 1929. She also led a small group of Indianapolis, Indiana, art patrons who called themselves the Gamboliers and between 1928 and 1934 selected artworks of for the group that brought some of the first modern and contemporary works to the collections of the John Herron Art Institute, which later became the Indianapolis Museum of Art.

Mary and Cornelius J. Sullivan, her husband, amassed a significant private collection of art during the 1920s and 1930s that included Modigliani's Sculptured Head of a Woman, Paul Cézanne's Madame Cézanne, Georges Rouault's Crucifixion, and a Hepplewhite desk that once belonged to Edgar Degas, as well as works by Pierre-Auguste Renoir, Paul Gauguin, Henri de Toulouse-Lautrec, Vincent van Gogh, Pierre Bonnard, Pablo Picasso, and others.