Verso: Inscribed in red pencil "top," typescript , upper area; below, handwritten in red pencil George Lewis (Ludwig?) Muell[er]/14 Eckert Avenu[e]/ Newark, 8, N.J.; below, inscribed in black ball-point pen: Mueller #202. The inscription is cut off at r. edge.
Ink and gouache drawing in black, gray and white on tan paper with tall vertical structure at center of composition rendered in a series of quick vertical and diagonal lines.
Drawing depicting the landmark Flatiron Building at Broadway, Fifth Avenue and 23rd Street in New York City. Designed by Chicago architect Daniel H. Burnham and built in 1902, the triangular building was the first structure in New York with a steel frame and is one of New York’s oldest surviving skyscrapers. Gleizes takes a Cubist and Futurist approach in his representation of the building, revealing multiple perspectives of the edifice simultaneously on a single picture plane, while systematically dismantling and rhythmically reorganizing its structure.
A sketch of a man from behind. The man's upper torso, back of head, and arm are redrawn around the complete sketch. The man appears slightly haunched over and is fully clothed. He also appears to be gripping something.
Drawing featuring a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees.
In 1897 Paula Becker first visited the artists’ colony in Worpswede, twenty miles north of Bremen, with which she would be associated for the remaining ten years of her life. Influenced by the German Romantics, the "Worpsweders," co-founded by her future husband Otto Modersohn, dedicated themselves to an anti-academic, anti-industrial philosophy that looked to the surrounding rural landscape and its inhabitants for inspiration.
During her short life, Modersohn-Becker produced a remarkable body of work: over five hundred paintings and almost twice as many drawings, many of which focus upon a single human form as the subject. In this work, a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees. This composition, characteristic of the artist’s style during this period, is free from anecdotal detail. The austere setting and clean line convey a simplicity that works to illuminate the fixed gaze of the child. It is at once a look that suggests vulnerability as well as a deeper inner resolve. True to Modersohn-Becker’s representations of the rural people in the north, this work, with its paring down to essentials, evokes a compassionate humanity.
Geometrically patterned composition with bright saturated colors composed of a central female figure with mermaid’s tail and bright red mane of hair; skull-headed figure at left with guitar; two green monster-like figures in upper right quadrant; two black fish with blue eyes near center.
“The Snake Charmer” marks a movement towards a more expressionistic style in Kokoschka’s work incorporating a bold, bright color palette, undulating lines and organic forms into a new, modern means of artistic expression filled with metaphors and personal mythologies.
The image is unsettling with acidic colors and dark, outlandish subject matter suggestive of an underwater scene with a mermaid, green sea monsters and a skull-headed musician at left playing a guitar representing the snake charmer.