Drawing featuring a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees.
In 1897 Paula Becker first visited the artists’ colony in Worpswede, twenty miles north of Bremen, with which she would be associated for the remaining ten years of her life. Influenced by the German Romantics, the "Worpsweders," co-founded by her future husband Otto Modersohn, dedicated themselves to an anti-academic, anti-industrial philosophy that looked to the surrounding rural landscape and its inhabitants for inspiration.
During her short life, Modersohn-Becker produced a remarkable body of work: over five hundred paintings and almost twice as many drawings, many of which focus upon a single human form as the subject. In this work, a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees. This composition, characteristic of the artist’s style during this period, is free from anecdotal detail. The austere setting and clean line convey a simplicity that works to illuminate the fixed gaze of the child. It is at once a look that suggests vulnerability as well as a deeper inner resolve. True to Modersohn-Becker’s representations of the rural people in the north, this work, with its paring down to essentials, evokes a compassionate humanity.
A spare and restrained abstract composition, built up out of layers of mostly translucent basic geometric forms. The grey tones of the background are created with large rectangle shapes. In the upper part of the piece is a light colored circle, with a brighter circle inside it. Both are crossed by an axis of bright, thin orange lines. On the left, the point of a triangle protrudes from the edge. It is covered by a faint gray trapezoidal shape. Three small black semi-circles are also visible: one along the lines inside the circles; the other two along the trapezoidal shape and just beneath the triangle.
A restrained formal abstract composition, the subject of the piece is the relationship between the shapes and colors. Moholy-Nagy theorized that in the visual realm, space, time, mass, and light can become like one perceptible substance. In this piece we can also see the artist's interest in the spare forms and clean lines of industrial design, an interest of the Bauhaus school where he taught in the twenties.
Two tall, rectangular intersecting planes, one black and one white, create the appearance of a tall, minimal structure. Vertical lines of black and white add to the structure, which at its base projects slightly into a rough square shape that seems to delineate a kind of ground or base. The space around the structure is ochre.
The basic forms and lines of this piece consider fundamental formal relationships and are in dialogue with Bauhaus ideas about architecture and industrial design.
Groups of figures sit crowded around tables in a dark, smoky interior. In the foreground a man dressed in white hose and a red cap leans on a barrel, his tankard placed at his feet, and looks directly ahead out of the scene. To his left several men cluster around a table to drink and smoke, while other dimly lit figures sit and move about in the background.
A group of peasants, consisting mostly of men, are gathered in a dark interior to smoke, drink, and converse.
A sweeping winter river scene opens up from the foreground and sweeps away towards the left. Ice floes dot the river surface and snowy hills frame trees that stand along the riverbank in the middle distance. The palette of this painting is restricted to mauves, blues, greens, and whites.
A dark line drawing with white highlights on a tan colored background. It shows a standing male figure in profile, facing left. He has curly hair, a long beard and has classically style draped clothing. He has a vacant gaze and his face is turned downward. there is a partial drawing of draped fabric in the left margin of the work.
This is a figure drawing of Oedipus as an old man. Oedipus was the King of Thebes in Greek mythology who unknowingly fufilled the prophecy that he would kill his father and marry his mother. When the prophecy was fufilled, he gouged his eyes out and went into exile to wander the countryside until his death. The figure of Oedipus was part of a larger tempera painting that Moore designed for the proscenium of the New Queen's Theatre, in Long Acre, London, depicting an ancient Greek audience watching Sophocles' play, "Oedipus at Colonnus".
Abstracted human figure reclining on its side. Eight strings resembling the strings of a harp extend from the chest area to the hip.
Shows Henry Moore's interest in biomorphic abstraction and the human figure. The melodic and lyrical elements of the form are suggested by the strings running from torso to hip evoking a stringed instrument.
In the center and right foreground, taking up most of the scene, are clustered buildings with tiled roofs, casting large dark shadows. In the background, at the upper left portion, the hillside can be seen, depicted by trees and a river that cuts through diagonally. In the upper left-most portion, the geometric shapes of plowed fields can be seen.