In the foreground, a man and a woman carry a child as they move to the left of the page. The man carries the child's body, while the woman holds the childs head. The man's face is turned towards the left, while the woman's head is bowed toward the child. The man and woman are dressed in dark clothes, while the child is shown in white. The child's arm hangs limp. A crowd of children is gathered in the background, looking at the three main figures.
From 1910 onwards, Kollwitz's work focused less on social and political themes, and more on intimate human relationships. In her work, she often showcased personal suffering caused by widespread social problems due to city life. In 1903, Kollwitz's older son caught diptheria, and the threat of his death led her to use death as a major theme in her work, as shown here by a mother and father carrying their dead child.
Brown (bottom left) and green (top right) interlocking abstract forms painted with a gap between them; image is centered and lies on the diagonal.
Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. (http://www.pbs.org/art21/artists/tuttle/index.html, accessed 1 Feb 2010)
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.
Large abstract painting in a vertical format, painted in tones of blue, purple and white. There are gestural purple brushstrokes against a blue background.
Lisa Bradley explores the boundless meanings within abstract art in her paintings. Her dynamic expression through color, line and shape is unique, yet tied to the fundamental roots of abstract painting.
Large abstract painting in a vertical format painted in tones of blue, green and purple. There is sweeping brushwork, and manipulation of the paint surface creating gouge lines and globs of paint.
Lisa Bradley explores the boundless meanings within abstract art in her bluish paintings. Her dynamic expression through color, line and shape is unique, yet tied to the fundamental roots of abstract painting.
Print featuring a image of a small boy and a bearded man standing at right near a body of water on left. Small bush at left and trees in the distance.
Already a prolific etcher, Emil Nolde learned the art of woodcut during his brief association with Die Brücke in the years 1906 and 1907. This work from 1906 is part of the artist’s series Märchen (Fairy Tales), made up of ten woodcuts illustrating individual scenes loosely adapted from folk legends, proverbs, and Bavarian glass painting.
In Despair we see an excellent example of Nolde’s early mastery of this print technique. He often incorporated the knots, grains, and inherent imperfections of the wood into his printed works. In this early print we see this impulse not only to make the grain visible but to incorporate it as the basis for the flowing waves of the water, the windblown clouds overhead, and the bent posture of the man at the water’s edge. Further example of his early skill is seen in the bush at the left of the composition, which the artist added using either wood plugs or putty to fill in a previously carved area. The addition creates a formal delineation between foreground and background, giving the entire work a depth it would not otherwise possess.
Signed and dated in graphite, l.r.: M. Pechstein 06. Inscribed in graphite, l.l.: Am Wasser Inscribed in graphite, l.l., above collector's mark, "1102"?; LC: "C2 084"; LR corner: "2". Verso, inscribed in graphite, LC: "APG 10417"; LR: "LS". Blind stamp, l.l.: (coat of arms with castle flanked HN, surmounted by a tobacco bush (colletor's mark of Heinrich Neuerburg; Lugt 1344a)
Print depicting two nude males crouching with their back to the viewer while looking out over a body of water
The Expressionist artist Max Pechstein made this woodcut during his years in Dresdan while he was a member of the Brücke group in 1907 (the date 1906 on certain impressions has been thought incorrect). Pechstein's long, curving cuts on the wood block smooth out the anatomy of these crouching male bathers and throw their physiques, sharply illuminated from the left, into stark relief.
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.
Abstract painting. Orange (left), red (right) and pink (bottom) bands painted with a zigzag pattern frame an abstract image in the center painted with vigorous upward strokes.
“Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.” Artist’s statement on website (http://www.ronnielandfield.com/)
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.
A study sketch of the heads of men along the top right side and a pair - a man and the devil - smoking in the bottom left corner. The men on the right are all helmeted in different syles of helmet with pointed faces. The man in the bottom corner is dressed in 17th century dress and reclining with legs outward while smoking. The devil figure is hard to discern, but appears to be a standing gargoyle-like figure in the distance. Clouds of smoke surround them.
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.