Titled, dated, and signed on plate, l.c.: Doctor Syntax Copying the Wit of the Window; l.l.: Drawn and etched by Rowlandson; top c.: London: Pub. Apr. 1, 1813 at R. Ackermann's Repository of Arts, 101 Strand Plate 6
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.
A roughly teardrop-shaped sculpture of shiny cast aluminum. Within the basic organic shape are several curls and a shape that appears to be a woman or perhaps a fetus. The sculpture sits atop a tall wooden base composed of a stack of fat disc shapes.
About organic form in itself, this sculpture includes an abstracted figure who could be either a woman or a fetus in the womb. The elements make the piece a commentary on the organic, fertility, and nurture. The closed form with its internal voids reflects simultaneously on protection and vulnerability.
Highly abstracted figure with oval body, short straight legs, and a large mushroom shaped head with a crude, wide-mouthed face. Between the body and head are two horizontal bars that are slightly longer than the width of the head. The sculpture is quite flat, and the bronze has a molten look.
Primitivist abstraction and surrealistic caricature of the figure of a girl carrying loaves of French bread.
A triangular formation of three figures. The one on the right is a seated male nude, the other two are partially intact sculptures that look like Classical Greek pieces. The one in the middle is a bust. The one on the left is a body on its knees, with no arms or head. The surrounding interior is done in yellows, pinks, and dark blues.
Vertically long image. Ink on silk. Multiple figures gathered near a table. Vegetation in the lower left.
The artist Gai Qi was from a family of Muslim origin that lived in southeastern China, near the port city of Shanghai. A professional painter living entirely on his art, he is best known for delicately rendered images of beautiful women. This garden scene of two young maids serving their mistress a platter of lichee fruit refers to the legendary incident in which when lichees were presented to Yang Guifei (719-756), the favorite consort of the Minghuang Emperor (r. 712–756) during the Tang dynasty. Lichees grow only in southern China, and the fruit was rushed north on horseback each summer to please the extravagant taste of Yang Guifei and her court ladies. One year when celebrating Yang’s birthday, the Emperor named his musical composition The Fragrance of Lichee. After Yang was killed in a riot, the annual arrival of the fruit reminded the emperor of his lost love and caused him great sorrow. This bittersweet motif is often found in Chinese literature and painting.