Inscribed in plate, l.l.: Cie Vernet del. Inscribed in plate, l.r.: Dubucourt sculp. Inscribed in plate, at bottom center: Passez Payez Inscribed in plate, bottom left: à Paris chez Ch. Bance rue JJ. Rousseau, No 10. Inscribed in plate, bottom right: Déposé à la Direction
New Years card with attached print that depicts an abstract figure with one large eye and long hair. Below the print the inscription reads "Pointe Sèche d'Asger JORN 1945." In the interior, the left page reads "Meilleurs voeux pour 1958" and the right an inscription in ink shows the signature of "Vi Horie Augustini". On the back of the card is printed at bottom left "Galerie Rive Gauche, 44, rue de Fleurues Paris 6."
Aluminum shaft with block letters cast in black plastic.
One of a series of sculptures in which Horn transforms language into a physical form. Seen from one angle, the text forms an abstract pattern, while from another it emerges as a poetic phrase: the first line of Emily Dickinson’s poem number 1182.
This is a horizontal print with black, pink and green colors on a white background. There are pink and green rings covering the lower portion of the work. Over these are black lines that connect some of these rings and a group of five black circles filled with squiggly lines.
Jonathan Lasker states: In the case of this series of lithographs, which I call “Ball Figures,” round knots of scrawly black lines form ball shapes which are abutted next to one another to make forms which have human, animal, or plant associations. Also, in the backgrounds of these prints there are circles in alternating colors. These circles make patterns which partially fill the page ending in boundaries in the middle of the page forming horizon lines. In spots, groupings of circles are ringed-in by black lines which create subdominant figures in relation to the more pronounced “ball figures.”
The picture which forms is arrived at by the viewer interpretively rather than literally." Source Tamarind Institute.
This is a square painting with skinny vertical lines of green on a background of red. There are two square forms in the center, each with a diagonal line from the upper left to lower right corners. One square is created by a pinkish, purple line and the other is created by a reddish orange line.
This abstract painting is an example of Op Art where the artist uses a repetition of geometric shapes and contrasting colors to create visual effects such as foreground-background confusion and ambiguous depth perception. Julian Stanczak was a student of Josef Albers, a painter who studied the perceptual qualities of color and the visual effects when various colors are combined
In this scene, a young prince, seen at right in his bejeweled splendor, offers reverence to an ascetic. The sage, nearly naked and with matted hair, sits on an animal skin. His right hand is in the gesture of exposition, suggesting that he is preaching to his courtly audience.
The Orissan manuscript pages in this case are good examples of the palm-leaf book format, which dates back many centuries in northeast India. Artists would inscribe lines into the leaf, fill the incisions with charcoal, and often added color. Both sides of the leaf would be used, and a stack of leaves would be strung together through the hole in the center. Manuscript covers, usually made of wood, were placed on the top and bottom of the sheaf of leaves, and the whole manuscript would be wrapped in cloth to protect it from dust and moisture when not in active use.
Wooden box with a keyhole cut through center of piece encircled with copper-colored paint and two large copper screw-heads on golden-yellow background; the word “KEY” painted in white letters at bottom
Like “Key Box,” many of Tilson’s works are reminiscent of children’s learning games, with bold colors and simple geometric forms. “Key Box” also reveals Tilson’s fascination with the relationship between symbols and words, linking the written word “key” with the representation of a keyhole.
This sober, pyramidal composition consists of five figures within an interior. A seated woman and child occupy the center of the composition while flanking her to the left is a kneeling older woman with her left hand on the child her right hand on the cradle. To the right of the seated woman is a putti holding a ewer and standing next to a basin. Standing behind the seated woman is a standing woman with hands raised. All of the women are dressed in generalized classical drapery.
Marcantonio Raimondi has long been associated with the Roman works of Raphael and Marcantonio's engravings are often more than mere transcription of Raphael's works. The classical balance and monumentality of this work suggest that this engraving is derived from a design by Raphael. The Virgin and Child with the standing figure behind may also be a reference to Leonardo's "Virgin and St. Anne".
This manuscript page contains a column of Latin text surrounded by generous margins. A pair of slender flowers with small green leaves run the length of the text along the left margin. Three decorated initials appear on the left edge of the text block. Each initial is painted gold on a pink and blue ground with white scrollwork and enclosed within a frame. Two rectangular line-fillers, colored pink and blue with white scrollwork, appear in the right half of the text column.
This illuminated manuscript page was taken from a book of hours, a type of personal devotional book that enjoyed widespread popularity from the thirteenth through fifteenth centuries and contained sets of daily prayers, or "offices." The text here comes from the Little Office of the Virgin Mary, who was a central figure in Christian devotion during this period.
Signed and dated in pencil, l.r.: Glenn Lignon '92 Numbered in pencil, l.l.: 27/45 Printed inscription: I FEEL MOST COLORED WHEN I AM THROWN AGAINST A SHARP WHITE BACKGROUND... (from text by Zora Neale Hurston)
A fragment of a horizontal scroll, which would originally have been rolled up and tucked inside a Tibetan prayer wheel, with the text of a prayer printed in red and black ink.
A fragment of a prayer scroll, that is, the text of a prayer printed in red and black ink on a horizontal strip of paper. Such texts were rolled up and placed inside a Tibetan "prayer wheel," a device that can be set spinning. By setting a prayer wheel in motion, a practitioner symbolically allows the efficacy of the prayer to spin out, as though in a centrifugal pattern, through the cosmos.