A large central figure represents God towers seen in the radiating rays of light and clouds that surround him.. On the forehead of his blocky, totemic head is a third eye. His left arm crosses over his middle and holds fire. His right hand extends down to the lower right corner as reaching down. The words "Vater Unser" are at the very top; "Der Du Bist" across God's waistline; "im Himmel" along the bottom.
Pechstein's "The Lord's Prayer" series of woodcuts mixes the text of the prayer with images of human wretchedness and spiritual need that draw on the Christian tradition to comment directly on the suffering and despair experienced by many Germans in the aftermath of the First World War and the economic crisis that followed.
This sheet of the portffolio depicts God in his radiant power and glory.
Interior composition with male and female dancers positioned at center with seated female at lower left, standing male on crutches at right and a group of birds in the leftmost background.
"Begin the Beguine" refers to a Cole Porter song (from the 1935 musical "Jubilee") that had become a popular big band standard in Artie Shaw's 1938 clarinet recording. The song's title can been seen at the lower left and the invocation of Cole Porter's sophistication stands in sharp contrast to the disturbing visual imagery within the composition. Distorted space, mutilated limbs, an acidic palette communicate Beckmann's ambivalence toward American culture as well as his attraction to cabaret.
A female nude reclining on a bed wearing one yellow slipper on her left foot, a gold bracelet on her right arm and a black ribbon tied in a bow around her neck. An African American woman in a blue dress stands behind her holding a bouquet of yellow and white flowers. A small monkey sits at the foot of the bed. All subjects look directly at the viewer.
This work borrows its subject matter, title and composition directly from Manet’s Olympia painted in 1863, which depicts a nude mistress, or more likely a prostitute, reclining on a bed; behind her is an African American woman, presumably a maid, presenting her with a bouquet of flowers, while a black cat sits at the foot of the bed.
In this work, Mel Ramos blurs the line between the fine art tradition of the aestheticized female nude and contemporary pornography, suggested by his hyper-realist treatment of the nude, revealing her tan lines, her blonde bob, and her quasi-seductive gaze, similar to what one might find in any number of pin-ups girls. Ramos updates not only the reclining nude, but also the older black servant, who becomes a young woman with a stylish afro. He further exoticizes the scene by replacing Manet’s black cat, a common 19th century symbol for prostitute, with a small monkey that, along with the two women, makes direct eye contact with the viewer.
A squat, gracefully rounded pot with a mouth that is slightly smaller than the widest circumference of the pot, and a tapered base. The interior is colored white. There is a band of black along the brim. The exterior is decorated with a pattern of alternating squares: brownish-orange squares divided vertically by a white stripe broken by three thin black lines; and white squares divided diagonally with wave-like black shapes.
An example of Pueblo pottery produced in the early twentieth century. It draws on traditional techniques and styles but was probably produced for the booming Native southwestern ceramic market.
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
Text: Mine More Coal - United States Fuel Administration - Stand by the boys in the trenches! - (Italian) Sostenete i soldati nelle trincee! Estraete Sempre Piu' Carbone! - (Croatian) Pomogni nasoj mladosti u rovovima! Kopaj Vise Ugljevlja! - (Slovenian) Podpiraj vojake v strelnih jarkih! Koplji Vec Premoga! - (Polish) Wspomagajcie wiernie tych ktorzy sa na linii bojowej! Starajcie Sie Powiekszyc Produkcje Wegla! - (Hungarian) Segitse a fiukat a lövészarokban! Aknázzon Több Szenet! - (German) Unterstuetzt die Jungen in den Schuetzengraeben! Foerdert Mehr Kohle!
A deep bowl with a wide mouth made of black earthenware. The upper half of the bowl is decorated with a horizontal and diagonal design in a lighter shade of black and rougher texture than the smooth black surface.
A beautiful, functional object made by an award-winning artist from the Santa Clara Pueblo people.
A triangular formation of three figures. The one on the right is a seated male nude, the other two are partially intact sculptures that look like Classical Greek pieces. The one in the middle is a bust. The one on the left is a body on its knees, with no arms or head. The surrounding interior is done in yellows, pinks, and dark blues.
A long, low rectangular with a painted band of green extends around the rectangle at floor level. The upper half is painted off-white. About three fourths of the length is uniform. The other quarter, at the viewer's right, has several features: two depressed areas, and two raised areas, which are painted in a brighter white.
Anne Truitt's painted minimalist sculpture incorporates two distinct themes: first, a formalistic approach to shape and the exploration of minimalist form and the relationship between color and form; second, a distinct subject matter -- here a sandcastle and the associated themes of play.
Inscribed in pencil, u.l.: BL938 Inscribed in pencil, l.l.: 4 Inscribed in pencil, left margin: "Dress"April 1963/unused Fortune story inscribed in pencil, l.r.: #4 stamped and numbered, verso, right center: Walker Evans XXIV 30 (in box)