It is a long, rectangular unglazed ceramic piece, intended to be shown in horizontal position. Two thick slabs are connected with bridges inside. The front part has almost flat surface; there is a deep cut on the left side, in which mass of worm-like inner surface can be seen. The same surface is revealed in the middle, as well as on the right edge. The top of the slab has a several shallow holes and one deep cut, inside of which has worm-like surface, as explained above. There is also a dent on the top and on the right, from which worm-like mass seems to be coming out. Reddish shadows cast on left side, in the middle, and the right. There is a patch of clay on left side near the left cut. The bottom is flat.
This is an abstract, ceramic sculpture, not for practical use.
The background of this print is covered with whitish paint or gesso that reveals the texture of the canvas, brush, and its application. Where material has been applied to the canvas there are small wrinkles. Dashes of black paint appear on the lower two thirds of the collage. What looks like a signature is in the bottom left.
A small, squat rectangle divided into two halves is centered on a large sheet of paper. The left half is a blue wash with black marks; the right half is a light gray wash with blue marks.
This geometric, linear drawing is likely an abstract portrait of Gio Ponti. A central figure in Italy's post-war design renaissance, Ponti was a poet, painter, industrial designer and founding editor of Domus magazine as well as an architect. [http://designmuseum.org/design/gio-ponti]
Going against the descriptiveness of the title, however, Pozzi has stated: “My painting doesn’t start from any premise other than the analysis of its own elementary characteristics. It does not include in its combination of elements outside premises such as mathematics, vegetation, primitive cultures, modern publicity, traditional symbolism, the esoteric or the occult. It is not at the service of anything, it doesn’t represent anything.” (cited in Bret Waller, Works from the Collection of Dorothy and Herbert Vogel exh. cat., University of Michigan Museum of Art)
This abstracted drawing in black ink contains a series of lines and shapes that evoke a sense of motion from the upper right to the lower left of the composition. Long parallel lines on a diagonal from the top right to bottom left reinforce this sense of movement. Swirling abstracted forms surround these lines and the composition is speckled with very fine splatterings of ink throughout.
Abstract drawing with lines, swirling forms and ink splatterings.
Three plastic long-stemmed red roses wrapped in thick transparent polyethylene, tied with twine, ends stapled
Wrapping something in plastic is usually meant to preserve or protect it; however, in “Wrapped Roses” Christo wraps something made of plastic in more plastic. Throughout his career, Christo, with collaborator Jeanne-Claude, has wrapped numerous items in cloth or plastic, including small boxes, furniture, even buildings. The artists deny that their projects contain any deeper meaning than their immediate aesthetic, contending that the purpose of their art is to simply create new ways of seeing familiar objects.
This etching consists of an abstracted composition executed in loose lines with a more figural representation of a figure with its arms raised on the left accompanied by a more abstracted form in the center of the composition. The etching is printed on a heavily embossed surface made up of raised circular lines. There are passages of hand coloring on the figure on the left whose torso is colored in yellow and blue. Other small circles are colored in red on the form to the figure’s right.
Abstracted composition with a figure in outline on the left and other forms.
One of a pair of windows with a highly regular, rectilinear, although asymetric, design in both clear and colored glass. Window has an oak frame. Window design consists of vertical and horizontal bands of green and amber colorerd glass at top and bottom of window; along one side are colored squares of glass; along the other is a chevron-shaped column of glass. The overall effect is of colored pieces of glass suspended within a clear window subdivided by abstract bands and patterns of lead caming.
The Darwin Martin house was considered by Wright to be one of the most important and satisfying houses he build in the early part of his career and stands as an outstanding example of Prairie School architecture. This pair of windows (1968/2.53-53) from the first floor of the Martin house contain an abstracted pattern based on wisteria, seen in the vertical row of chevron-patterned glass.
A spare and restrained abstract composition, built up out of layers of mostly translucent basic geometric forms. The grey tones of the background are created with large rectangle shapes. In the upper part of the piece is a light colored circle, with a brighter circle inside it. Both are crossed by an axis of bright, thin orange lines. On the left, the point of a triangle protrudes from the edge. It is covered by a faint gray trapezoidal shape. Three small black semi-circles are also visible: one along the lines inside the circles; the other two along the trapezoidal shape and just beneath the triangle.
A restrained formal abstract composition, the subject of the piece is the relationship between the shapes and colors. Moholy-Nagy theorized that in the visual realm, space, time, mass, and light can become like one perceptible substance. In this piece we can also see the artist's interest in the spare forms and clean lines of industrial design, an interest of the Bauhaus school where he taught in the twenties.
An explosion of colorful forms suggests the human form in dynamic movement. Yellows and reds predominate in shapes that draw the eye toward the viewer's upper right where three roughy triangular yellow shapes suggest a head and upraised arms.
Severini's treatment of a dancer in motion conveys the harmony and dynamism of the figure's movements rendered in a highly abstracted form.
Verso, label: The Pace Gallery/32 East 57th Street/New York, NY 10022 [black letterpress, all one line]/NEVELSON Black Excursion 13/#1922 1969 Black Wood & Formica/37 1/2 x 47 1/4" [typescript, below]; to the r., PAUL SIPOS INC./181 DUANE STREET NEW YORK, NEW YORK 10013/ (212) 925-3067; below, in black marker: LANNAN/FOUNDATION/1/CHRISTIES
inscribed in red paint, l.r.: 82.71
95.25 cm x 120.02 cm x 11.43 cm (37 1/2 in. x 47 1/4 in. x 4 1/2 in.)
Square, rectangular, and circular pieces of wood and formica are assembled in rectilinear, cabinet-like compartments. The entire object is painted black.
Assembled from found pieces of wood and formica, the objects that make up the piece resonate between being subsumed into the purely abstract form and reminding the viewer of their one-time life as daily objects.
Landscape painting featuring a row of trees in the middle distance, separating a glowing sky above and a meadow in the foreground.
Best known for his landscapes and seascapes painted in a Tonalist manner, Tryon’s paintings typically feature a broken row or group of trees in front of a lustrous sky at sunset or sunrise with a marsh or pasture in the foreground, painted in muted autumnal hues.
In “Twilight” Tryon depicts a wooded meadow veiled in the misty atmosphere of deepening twilight, dominated by muted grays, browns, and blues. Tryon studied in Paris and this work illustrates the influence the French Barbizon style of painting had on his work, with its emphasis on rural scenes drawn directly from nature accentuated by a sense of mood and shadow.
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.