The composition has a wide path in the middle heading into the background, with buildings on eiher side and three telephone poles in the middle. The top of a tree can be seen over the buildings in the top left of the scene. The front center portion of the pathway has some darker horizontal marks, and a dark figure is on the pathway in the center right of the composition.
This woodblock print depicts a figure walking down a street in Nara, Japan.
This is an unglazed stoneware bizen jar fired in a wood-burning kiln.
It has a hard, smooth surface with decorative incisions near the top of the jar. The lower portion has effect of color gradation of reds and browns. The lid seems to dip into the jar, and has a know handle. The entire piece is not perfectly formed, but has an organic aesthetic.
The Bizen kilns have been in operation since the sixth century, but by early modern times, they were in steep decline. Kaneshige Tôyô single-handedly led a revival of Momoyama wares. His work can be remarkably faithful to Momoyama prototypes, as in this water jar, or subtly modern. A water jar like this would have been used for tea ceremony.
For his accomplishments in restoring Bizen ware to its long-lost fame, Kaneshige was named a "Living National Treasure" by the Japanese government.
A base composed of a red section that lies on the floor and a black section that rises to narrow point. On the point rests the moving part of the "mobile"--one arm extends out and ends in a black boomerang; the other extends out then attaches to a vertical arm that has yellow polygons on either end.
The abstractionist's interest in the rhythm and motion created by the way shapes, lines, and colors interact with one another is here put in actual motion in the form of a mobile.
Signed with pencil, l.l. corner: Appel ; and at center bottom, to right of signature, also in pencil: 35/115 Watermark: bottom center: Arches In pencil, on inside of frame, bottom bar: 21.5 x 21.5 Verso of frame's cardboard backing, center top (label): (see accession sheet for label) Inscribed in pencil, verso, l.l. corner: #7/G839 G
Bust-length portrait of figure in black on green background using thickly applied paint.
One of a number of figurative pieces produced by Johnson, who while using expressionist techniques, was one of few artists depicting figurative subjects during a pro-Abstract Expressionist period. Gestural but representational, this work nonetheless contains many of the characteristics of Abstract Expressionism, especially the thick application of paint and the sense of the artist’s hand in the creation of the work.