Black and white drawing of organic forms vaguely resembling human figures flowing into one another in a room-like space. On the right hand side of the grouping stands the most recognizably humanoid figure.
Xhorkom is the village in Turkish Armenia in which the artist grew up before the Armenian genocide during World War I. The piece uses abstract, organic forms to evoke the happy, nurturing, cradling experience of his childhood with his family and to express,the indeterminate, changing, and fantastical shape of memory.
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."
Text: Save Gasoline - It's a WAR necessity - Don't spill any, permit leaks, use for washing, run engine while standing, leave tanks or cans open, waste lubricating pools - Stop the leaks and save the drops - United States Fuel Administration
Two abstracted bust-length figures, one male and one female, look directly at the viewer with large smiles against a tan background filled with swirling lines and scribbles. The face and eyes of each figure are outlined in thick green, the mouths in thick yellow. The “whites” of the eyes are red, while the pupils are circles of pale purple. From the eyes of the male figure, purple paint drips down his checks; in the female figure, the paint drips upwards.
In “Ups and Downs” two figures, one male and one female, confront the viewer with large smiles. The work gets its title from the purple “tears” that drip down the face of the male figure and upwards on the female figure.
A long wooden box divided into two compartments, one small and one large. The small compartment contains an intricately worked gold thimble inscribed with a poem. The long compartment contains a silver thimble in which horse hairs have been threaded. The tuft of horse hair runs the length of the long compartment.
Scripts of love and romance. The failure of language to communicate clearly. Fairy tale fantasies of children.
Oak panel with screen print; signed K.Haring 88 along lower right edge.
An example of Keith Haring's signature style in which figures are rendered in a crisp, clean single line. Two central figures of indeterminate sex engage in a form of connection/penetration evoking both a sense of movement and the erotic. Created the year Haring was diagnosed with AIDS (from which he would die two years later), this work retains Haring's simplicity of line while the imagery alludes to deeper themes of eroticism, sexuality, and danger.
Bust-length portrait of Marilyn Monroe positioned in front of a red background; Haring used a poster of the actress onto which he applied sumi ink in a series of outlines, marks and drips over the face, neck, chest and shoulders.
Bust-length poster of Marilyn Monroe over which Haring has applied sumi ink outlining the features of the form and making a series of marks over her face, neck and chest
Landscape with minute figure standing on the banks of a lake among trees and boulders in the foreground and mountains in the distance; blue sky with dark storm clouds on left and white cumulonimbus cloud on right.
The painting depicts a scene from the Adirondack Mountains of up-state New York, possibly the shores along Lake Chateaugay, from the western shore of the Narrows, with Panther Mountain and Lyon Mountain in the distance.
“The Adirondacks” illustrates Hart’s embrace of the mannerism of the Hudson River School characterized by serene, pastoral, romantic landscapes. Hart depicts the American landscape as a bucolic setting, where humans and the natural world coexist harmoniously, and exploits the minuteness of the figure in the foreground and the storm clouds in the sky to emphasize the power and grandeur of nature.
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.