This object is a cream colored sheet of paper in a horizontal rectangular shape with geometric forms embossed in the center section. There is no color and the geometric forms are created by raised lines. There is a long rectangle that contains two sets of intersecting cubes. The object title, edition number, artist signature and date are written in pencil below the rectangle.
Albers was a German-American geometric abstract painter, printmaker, sculptor, designer, writer, and teacher. Between 1958-1962, while working on his complicated series based on color, Albers was also working on a new series of colorless intaglio prints. These were based on drawings that he called “Structural Constellations”--compact line drawings of three-dimensional forms that would be impossible to construct in real space.
This is an oil painting in a vertical format painted in tones of brown, white and black. It shows four circular forms and areas with thick paint applied in broad brushstokes.
Terry Winters is an American abstract artist whose paintings in the 1980s depicted natural forms and botanical studies. In an interview from 2008 he described his early work: "For me, painting's capacity to make images through the manipulation of materials seems to be its most powerful and magical quality. How a painting is built is a big part what it means. Mark-making, gesture and touch-those are the key components as to how to generate images through painting."
This is a square painting with skinny vertical lines of purple on a background of orange. There are two square forms in the center, each wth a diagonal line from the lower left to upper right corners. One square is created by a pinkish, purple line and the 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.
This is a clear glass inkwell with sterling silver overlay. The body is oval shaped with a diagonal swirl design. The design has an alternating glass and silver swirl pattern. The collar and lid are silver. The lid has a diagonal swirl design that rises to a peak.
As with most objects of daily use, inkwells could be modest and utilitarian or more fanciful, the latter employing lavish use of precious materials to reflect and enhance the status of the possessor. Inkwells in the UMMA collections demonstrate a rich variety of materials, including silver, crystal, ceramic, and metal. Some pre-date the emergence of the fountain pen, and many mark the transition from a quill or nib pen to the convenience of the pocket pen commonly found today. Inkwells are avidly collected by those who value the artistry that went into the creation of a beautiful object for everyday life.
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
This watercolor on brown prepared board is vertically oriented. The piece
is reputedly a view of a Parisian street (perhaps in the 8th arrondissement), and the perspective is as if the viewer is on the fourth floor of an adjacent
building. The upper two-thirds of the piece show a building-lined street,
curving gently to the left. The buildings are about six stories tall, and
additional rooftops are barely visible in the distance. On the ground
floor of the buildings, there are traces of people, shops, and cafés. In
the bottom third of the work, the road dissolves, but forms suggesting a
few people populate the space.
This work was painted around the time Whistler turned 50. The artist had just lived in Venice for a year (1879-80) and was now living in London. Rue Laffitte is in the 8th arrondissement of Paris, between the Boulevard des Italiens and the Rue de Provence. Whistler created over 1700 watercolors in his lifetime. He painted thinly, leaving areas blank to suggest light or texture. He outlined a subject in pencil or brush, and then added washes quickly with small brushes, altering, but rarely rubbing out.
A street facing onto a canal is seen at a very slight angle. The three buildings each have balconies (some enclosed), banks of windows, and doors at the water's edge. A dense network of hatching lines describe the brick facades, balconies and windows, and reflecions.
According to the Glasgow catalogue raisonné, "This is a view of the Oudeszijdskolk, in the city of Amsterdam, capital of the Netherlands. It shows the back of the buildings on Sint Olofsteeg, in the city's red-light district."
A large ornate waterdoor faces onto a canal. On the threshold near the water, a woman bends down towards the surface of the canal. Behind the doorway stands another figure in the shadows and beyond is another opening to a small square or open-air workspace. The Doorway consists of a large lunette shaped transom light over the door and the portal is flanked on either side by large arched windows. The glazing is all fitted into a fine network of mullions in either square on diamond patterns. The door and windows are each framed by carved pilasters and engaged corinthian capitals. Below the windows are bands of rosettes and other carved ornaments that extends to the water level.
Whistler discovered "a Venice within Venice" that had never captured the attention of earlier artists. Rather than focus on Venice's grand public spaces, he worked along the back canals, in both pastel and in etching, finding topics of local color and rich detail. This doorway belonged to a chair repair shop. In the first state--and again in the last state--the woman's stooping gesture is given significance by the cloth in her hand; she is washing out dye in the canal. In this state the fabric has not been redrawn yet.
This is a nighttime view of a city on water. Along the horizon can be seen numerous buildings and ships. At center left is a three-masted ship at anchor; along the right side are buildings, incuding domes and a tall tower. Throughout the image, there is an importance given to reflections and the nocturnal setting.
Whistler frequently employed plate tone to evoke the rich humidity of Venice's climate. This image showing a large ship at anchor in the mouth of the Grand Canal conveys the palpable atmosphere of nighttime in Venice.
Prior to Whistler's adoption of "artistic wiping" of the plates, such use of plate tone would have been the mark of someone not proficient in printing techniques. Whistler varied the inking of this plate, in particular, such that impressions are essentially monoprints. However, use of plate tone became more broadly embraced and the Venice prints became among the most sought after of his etchings.
An old woman in a white cap sits in a cluttered interior. Positioned just inside the doorway, the woman is surrounded by piles of cloth with domestic objects on shelves and walls that gleam in the darkness.
The images of Whistler's French Set reflect the artistic trends current in Paris when Whistler was a student there. "La Vieille aux Loques", with its concern for working class figures, demonstrates Whistler's early orientation towards the work of Courbet. Throughout his career, Whistler mantained an interest in depicting working class and humble subjects; however, the beauty of his depictions elevated such works beyond the gritty realism of early works such as this etching.
Multiple color screenprint of an abstracted industrial landscape. In the foreground is a small strip of land, and in the middle ground are buildings of various geometric shapes and sizes. In the background, the rooflines of the buildings start to blend in and emerge from the cloudy sky.
According to Mark Rawlinson's book, Charles Sheeler: Modernism, Precisionism and the Borders of Abstraction, Sheeler's work after 1943 was thought to return to a simplified realism that he pursued in his early career. Sheeler began to consistently rework old themes, a trend that many critics saw as a decline in his talent. During this later period in his work, Sheeler would sift through various images and forms that he already knew and produce new and sometimes awkward compositions through a layering and combining of this past content. The layering of this work by Sheeler demonstrates a possible combining of various architectural forms he had worked with in the past.
In the middle of a wooded setting is a woman carrying a child on her back. A few sheep surround her, with a lamb in the center left foreground. A boy stands at the right side of the composition. The trees and the clothing of the figures are mostly in shadow.
Costigan often used his wife and children as subjects in his works. He tended to portray rural settings, and his use of line in this print infuses the bucolic scene with vitality and movement.
Abstracted, organic shapes in black and gray tones flow through the top three-fourths of the composition. Some small, thumbnail like lines are embedded into the shapes in the center right. A small reddish-colored shape is in the middle of the composition.
This print is constructed of five horizontal bands of color with a semicircular shape at the top center. The bottom-most band depicts tightly clustered organic shapes with dark borders. The next band has a short, thick, curving line in the center, and a couple other dark organic lines above it. The third and middle band has some hatching and some circular shapes. The fourth band, or the second band from the top, is made up of horizontal lines, with many hatched vertical lines over top of them, reminiscent of grass. The top most band depicts a cellular-like structure, consisting of a diamond pattern. The semicircular shape at the top cuts through the top band, and juts partially into the band underneath it. The semicircle has an organic, circular line formation in the center.
According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently reflects themes of man, nature, and their interrelationships. Additionally, his work his highly influenced by his travels to Mexico, South America, Hawaii, and Alaska. These themes and experiences work together to create sensitive images designed to evoke a sense of continuity and a reaffirmation of life.
This watercolor on Japan paper, mounted on board, is vertically oriented. The piece is very dark, with the forms barely visible and very abstract. The upper quarter of the piece is blue, white, and pink (presumably a morning sky). In the next quarter down is what appears to be a body of water reflecting the sky, which a city and hills on the fall side of the shore from the viewer. The lower half the work has abstract figures in brown and cream that appear to be on the shore. Compositionally, there is a zig-zag recession into space. The piece is surrounded by the white border of the board that it is mounted on.
This work was painted at the end of Whistler’s life (he died in 1903). The artist was in poor health when he spent the winter of 1900-01 in Algiers and Ajaccio, Corsica. He painted, etched, and filled many notebooks with drawings, including over 1700 watercolors in his lifetime. He painted thinly, leaving areas blank to suggest light or texture. He outlined a subject in pencil or brush, and then added washes quickly with small brushes, altering, but rarely rubbing out.