Abstract painting composed of long broad brushstrokes in black and white with a small area of red in the upper left quadrant.
“Untitled” is typical of Kline’s work during the 1950s and 60s, his use of strong lines of black and white paint imparts a sense of the artist’s hand, creating a cacophony of line and gesture. Despite the appearance of the accidental, this work is actually very carefully conceived and consciously constructed. The balance between black and white, volume and void, is precisely thought out while expressing an urgency and vitality.
Half-length portrait of a young woman facing right with dark brown hair wearing a yellow satin dress. The upper part of her bodice is trimmed with black ribbons arranged in vertical stripes. She wears gold ovoid pendant earrings, and a strand of pearls in her hair. In the background are branches of oleander, and to the left of the sitter, is a panel of brocaded textile of late medieval design.
The precise identification of the sitter is a bit problematic, but there is much evidence to suggest she is Anne Simms Reeve, the sister of Philip Bedingfeld, LLP, JP of Ditchingham Hall, Norfolk, and daughter of William Browne of Tichwell, Norfolk, who married B. Simms Reeve, Q.C. of nearby Brancaster in 1854.
Like many of the Pre-Raphaelite artists with whom he associated, Sandys had a penchant for 15th-16th-century Flemish and German art, which is evidenced by the meticulous attention to detail, crisp delineation of forms, highly-finished enamel-like surface, along with the lush brocade and exotic foliage in the background of this panel painting.
Abstract painting dominated by brushstrokes in vivid yellows on white background with light blues in center and left side of canvas, large area of light brown in upper right and lower left, and brushstrokes in dark red in left center of canvas. Signed “hans hofmann” in lower right.
In “Untitled,” Hofmann’s use of shapes, colors, lines, and space echoes nature, producing a new type of landscape; one that is composed, not of trees and land, but of the balance and tension between form, vibrating colors and energetic brushwork.
48.26 cm x 15.24 cm x 12.7 cm (19 in. x 6 in. x 5 in.)
Chinese ceramic Sancai figure of a man in robe and tall hat, standing on an octagonal platform. The figure is colored; his robes are green, while his sash, end of sleeves and collar are a reddish/oragne color, which also corresponds to the colors on the platform. His tall hat is colored black. The head of the figure is detachable from the body of the figure.
This grayscale print depicts what appears to be an abstracted landscape suggestive of a hill on a horizon line. The lower two-thirds of the square composition are quite uniformly black while the upper third becomes increasingly lighter in value. The print shimmers with varying intensity when looked at under direct light as there appears to be mica incorporated in the ink.
Print made to resemble a wood framed chalk board; dated lower left 1974; at lower right, artist's insignia a capital W within a circle.
Wiley's use of text here confronts the viewer with an age-old aphorism "I hope you learned your lesson," while infusing the work with a sense of irony and humor by creating the illusion of erasure and rewrites giving an instability to what reads as incontrovertible text. Adding an element of self-reference to the work, Wiley leaves the ghost of his birth year, 1937, visible as an erasure at the bottom left of the print.
The number "3" in orange in a blue circle with a green background; the word "THREE" written bottom center.
“Number 3” is part of a series of works based on numbers and reflects Indiana’s interest in the existential aspects of numbers, which he regarded as the basic elements structuring our daily lives, with 1 to 9 representing the spectrum of existence and 0 standing between life and death.
By using a subject matter that can be instantly recognized and accepted, it permitted Indian to concentrate on form and color. He uses an intentional ambiguity based on the principle of redundancy by identifying the number “3” with its letter equivalent, expressing the same abstract concept graphically as both symbol and word.
three aluminum-painted canvas panels joined in the back to form a square, with five inlays of Sculptmetal, zinc photographic plates and lead
Literal and straightforward references to the body have been “frozen” into the soft, manipulable Sculptmetal and lead plates, which are set into the canvas and flush with the surface. The photographic plate has an image of a fired bullet from an earlier Morris lead piece.