A menage of female figures lie entangled together, painted in many different colors. Certain body parts appear identifiable and are emphasized with bleeding lines. In the background appears straight-lined brush strokes emoting a fence or barricade much like one would see within a concentration camp. Beneath the watery brushstrokes are thin, precise lines.
A bull in the center charges to the left toward a horse rearing up with a bullfighter on its back. The bullfighter leans forward to plunge a spear into the bull's shoulder area. Flags and spectator stands lie in the background.
The Bullfight was with Picasso's dealer at the Paul Rosenberg & Co. New York, the date is not specifcally documented. In 1973 it was in an exhibition at the Wadsworth Atheneum, according to the sticker on the back of the liner, the given owner is the Carey Walker Foundation. After being donated to the museum, "The Bullfight" was in an exhibition at the Picasso Museum in Barcelona, Spain from Oct. 9, 1993 to Jan. 9, 1994. The transportation sticker to Madrid, Spain with the University of Michigan as a lender, was presumably connected to that loan.
Three large, rectangular blocks of translucent green glass hang in vertical succession on a newtwork of copper rods. The glass has bubbles embedded within it and shows evidence of the sandcasting process.
This abstract sculpture is dedicated to the artist's son, Benjamin, and represents hope for his future.
The top row of triangles employs the colors mustard yellow, lilac and teal; the bottom row’s triangles are painted in taupe, sage and dusty violet. One of the triangles in this row is left unpainted, which shows the precisely measured and drawn lines that form the triangular composition.
Verso, inscribed in red paint, c., u.l. and l.r. of panel: 70.14a (l. panel), 70.14b (r. panel); in crayon, u.l..: Rockburne/67/2 parts (r. panel); sheet attached to l. panel, bot. third: see copy in object file. Aluminum panels are stamped: ALCOA REG/TM .O64 ANA
231.78 cm x 219.1 cm x 6.67 cm (91 1/4 in. x 86 1/4 in. x 2 5/8 in.)
Two large panels painted red panels of aluminum, situated against one another so that the seam is visible at center. A line of white runs along each panel's outer edge.
A minimalist piece, the subject matter of which is 1) the red color, from which the piece takes its name, "Fire Engine Red," 2) the effect on the color of the painting surface, aluminum, and 3) the texture of the painted surface, which was quickly dried and given a wrinkled texture with a heat lamp.
Hollow glass piece. The bottom half (whose end is flat and thus serves as a base) is a solid spring green separated by a band of translucent yellow. The top half is a darker olive green with a Kelly green stripe that winds from the yellow band at center to the hole at this end of the piece.
(Abstract, organic shape. Meaning of title is unclear. Perhaps taken from an anagram.)
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.
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.
Bust portrait of woman. Her hair is brown, shoulder length, and curls at the bottom. Her high-collared blouse has off-white and light blue vertical stripes. She looks directly at the viewer
Portrait by Picasso of his lover, Françoise Gilot. The portraits of her usually depict Gilot with a sharp, narrow face that recalls portraits of Spanish princesses by Diego Velasquez. Completed on February 28, 1949, one month before the birth of Picasso and Gilot’s second child, Paloma.
Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
Black and white drawing of organic forms vaguely resembling human figures flowing into one another in a room-like space. On the right hand side of the grouping stands the most recognizably humanoid figure.
Xhorkom is the village in Turkish Armenia in which the artist grew up before the Armenian genocide during World War I. The piece uses abstract, organic forms to evoke the happy, nurturing, cradling experience of his childhood with his family and to express,the indeterminate, changing, and fantastical shape of memory.
Signature: incised in the image l.r.: Jacob Lawrence 53
Inscriptions and Marks: on removable backing board, l.l., written sideways with a blue colored pencil “#15”; u.c., with a blue colored pencil surrounded by an oval “112”; on liner, l.l., written sideways with a blue colored pencil “#15”; on tape covering upper member of the inner frame; u.r., written with a red colored pencil “44”
Eight abstracted figures (three kneeling in front and five standing in back) wearing orange tank tops and white shorts face the viewer; two basketballs and five trophies between figures in the foreground. Figures stand in front of a background of fragmented, arched and circular areas of color in blues and golds.
Jacob Lawrence drew upon his surroundings in Harlem, NY for influence and inspiration. His work often contains people in the African American community and their struggles, dreams and triumphs. “Champions” depicts a portrait of an African American basketball team resplendent with their five trophies. The schematic designs, flat space, angular figures, and fragmented, highly patterned surfaces of this piece are typical of his style.
This print shows a black horizontal rectangle in the lower left portion of an off-white background. The rectangle is divided in half and each side has a pattern of stripes that create the appearance of inverted u-shaped forms stacked one on top of the other.
Frank Stella began making prints in 1967 in collaboration with Kenneth Tyler at Gemini G.E.L. in Los Angeles. This lithograph is part of his small print series, "Black Series I," that were derived from his earlier stripe paintings from 1958-59.