Positioned within a black background a vertically stationed white oval shape sits at center; within the oval are a series of abstracted forms and lines in primary colors all characteristic of Kandinsky's style.
A purely abstract composition of shapes, lines, and primary colors
An angular bottle executed in two tones of white stands tall just to the (viewer's) right of center. To its left is a stack of gray drinking cups. Irregular blocks of various sizes and colors make up the rest of the field.
A Cubist still life, depicting a bottle and drinking cups. The perspective is mildly fragmented and, through the use of the blocks of color as well as the blocky objects, the space is flattened into discrete planes.
An abstract figure with anthropomorphic qualities stands to the left, with a wing-like object sweeping across the middle of the painting and into the right side, which holds a still life component. The color scheme is predominently cool with warm accents throughout both the figure and the still life.
Thin, double-side, H-shaped bronze sculpture. Each side is made up of a collection of rough rectangle shapes overlapping and butting up against one another. Two rectangle-shaped openings penetrate the piece.
The artist is interested in the synthesis between idea, material, and form in abstract sculpture.
Abstract painting in muted colors with shades of blacks, browns, and white. The composition consists of bold diagonal lines and blocks of black, brown, and white.
Soulages’ use of bold, gestural strokes resulted in comparisons to Abstract Expressionism; however, Soulages’ work, while appearing spontaneous, was actually the culmination of concentrated and deliberate layering, often over a period of several months.
Large stoneware abstract sculpture with two balanced lateral crescent-shaped forms branching off a central conical structure. Brown with loosely-painted broad brushstrokes in black and incised decoration of rows of dots in a “stitching-like” pattern
Drawing inspiration from Japanese ceramics, American Abstract Expressionist painting, and improvisational jazz, Voulkos pushed the limits of his medium and moved beyond the realm of the ceramic vessel to a new level of sculpted and painted ceramic form.
Inspired by the large-scale, unpremeditated form, free-energy and bold gestural strokes of abstract expressionism, his work became marked by mass and size, spontaneous form, and a bold, painterly use of glazes.
It is a long, rectangular unglazed ceramic piece, intended to be shown in horizontal position. Two thick slabs are connected with bridges inside. The front part has almost flat surface; there is a deep cut on the left side, in which mass of worm-like inner surface can be seen. The same surface is revealed in the middle, as well as on the right edge. The top of the slab has a several shallow holes and one deep cut, inside of which has worm-like surface, as explained above. There is also a dent on the top and on the right, from which worm-like mass seems to be coming out. Reddish shadows cast on left side, in the middle, and the right. There is a patch of clay on left side near the left cut. The bottom is flat.
This is an abstract, ceramic sculpture, not for practical use.
Oval-shaped piece of veined, green Swedish marble standing on one of its narrow ends. Three holes of different sizes penetrate into the object's center. The holes are painted respectively in a semi-gloss black and matte white.
An example of Hepworth's monumental approach to geometric abstraction. Hepworth was intrigued with the way the variegated color of the marble interacts with the biomoprhic and landscape-like curves of the piece. The holes add an aspect of meditation on space to the object.
An explosion of colorful forms suggests the human form in dynamic movement. Yellows and reds predominate in shapes that draw the eye toward the viewer's upper right where three roughy triangular yellow shapes suggest a head and upraised arms.
Severini's treatment of a dancer in motion conveys the harmony and dynamism of the figure's movements rendered in a highly abstracted form.
Lithograph print on white paper. In the center, a very bulbous teapot, with a large conical mouth and protruding spout, is depicted in crude outline and filled in with patchy dark brown. To the right is a banana and the outline of an apple. A gray background fills the space around the objects and trails off into the white paper at the edges.
Still life with teapot and fruit, executed in a late Cubist style. The emphasis is on a minimal representation of space and objects.