Abstract expressionist painting in pink, black, green and ivory, with squares pressed into the paint while wet to make an impression.
Goldberg was influenced by the gestural Abstract Expressionist mode of older painters like Franz Kline, Clyfford Still and Willem de Kooning. The improvisational nature of jazz was also important to his work.
Two girls, depicted in bold geometric shapes and block colors, reading a book together. The figure seated at viewer's right, slightly taller, is green and wearing yellow. The figure at viewer's left has a face of blue and white and is clothed in red resting her clasped hands upon an open book.
Two girls in an embrace read a book together. The figure at the viewer's left is Picasso's mistress at the time, Marie-Thérèse Walter. The other figure is thought to be either Olga Koklova, his wife, or Marie-Thérèse's sister. The scene suggests intimacy, yet the distored shapes and vibrant colors evoke a separateness, distance, and give the piece a melancholic feel.
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.
A massive harlequin figure, depicted in purples, greens, and yellow, sits in a chair at center, wearing a hat. A plate sits on the left armrest of the chair. The central composition of the seated harlequin is contained within a circular framework.
Between 1922 and 1924, Gris produced sets, costumes, and props for ballet and theatre productions, working most notably with Serge Diaghilev. This is one of the few paintings he produced during that time. The harlequin was a stock character from the theatre and is a recurring figure in Gris's work. This painting is also an example of Gris's late Cubist style.
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.
A collection of abstract landscape and figure with a photographic image. The figure, Christlike in its pose, runs up roughly the middle of the painting, looking also like a road or a path across the bleak landscape. In the upper left is a photographic image of some military trucks and a scaffold tower. Along the left half of the landscape, names of towns are written in the paint.
History, World War II, specifically the retreat of the British Army through France and Belgium in 1940, in which the artist's father took part. The names written in the paint are the names of the towns that the soldiers passed through. The tortured figure and landscape of war.
A vase with flowers sits before a window, between two books that lie on a table, and framed by open red curtains. The landscape outside the window shows a blue cloud sky above a body of water.
One of the many paintings mixing elements of still life and landscape that Hartley did after returning to his home state of Maine in the thirties. He was fascinated with the land and lives of New England in his later years, and his works show a mix of European modernism and American regionalism.
A landscape reduced to minimal abstract elements. The lower half of the painting is black. The upper half, various shades of white and blue. Two black squares are suspended in the white above the black. A small pale blue circle is between the squares.
One of Gottlieb's Imaginary Landscapes. The landscape reduced to basic conceptual elements, allowing the work to resonate between representation and pure minimalist abstraction. Interested in mythology, Carl Jung, and indigenous art, Gottlieb hoped to show "the emotional truth of the landscape."
Full-length portrait of a standing male in a lanscape setting. To the left of the composition stands a pair of birches near the figure; to the right the landscape opens up to a distant expanse of trees and hills. The man, Sir Foster Cunliiffe, stands facing to the right and looking out of the canvas to the left. He holds a bow and quiver of arrows; a black hat with feather lies on the ground at his feet. He is dressed in tan pants and waistcoat with a green frock coat and black boots.
Cunliffe wears the uniform of the Royal Society of British Bowmen, a group he founded in 1787 and is shown in a landscape, presumably his estate of Acton Park in Denbighshire. His family's fortune came from trade, including participation in the slave trade before it was outlawed in Britain.
High-gloss abstract expressionist painting of a large Africa-shaped form in red against black ground. Clough’s unique way of applying paint to the canvas results in a highly articulated and densely textured surface. “In place of the brush and other typical painter's tools, Clough uses an instrument he calls the ‘Big Finger,’ a large balloon-like contraption that he invented to spread poured house enamel on masonite into broad gestural constellations.” (Max Henry, “charles clough,” http://www.artnet.com/magazine_pre2000/reviews/henry/henry2-5-99.asp)
The word “redoubt” is defined in the Oxford English Dictionary as:
a. A small work projecting from or within a bastion or ravelin (now only in detached redoubt). In later use chiefly: an enclosed fieldwork or outwork, having little or no flanking defences.
b. An entrenched stronghold or refuge; = REDUIT n. 2.
2. fig. or in figurative context. A stronghold, retreat, or refuge.
3. a. An entertainment consisting of music and dancing, esp. a masked ball. Now hist.
b. A public assembly hall used for gambling and entertainments. Obs.