On a narrow canvas a background of overlapping, rounded segments of blues, grays, and greens suggests rock. These layers build up to warmer colors, and on the surface of the layers are several shapes executed in white line suggestive of cave-painting. The shapes looks like microscopic organisms and are connected by the nerve-like white lines. As a whole, the visual elements are also suggestive of a seated figure, and the white shapes then appear as organs.
Kamrowski's work creates a self-contained other-world of shapes and colors suggestive of microscopic life, terrestrial existence, and the cosmos. The execution also suggests primitive cave art, linking the work to a commentary on the roots of the human psyche. This piece can also be read as presenting the viewer a human form, perhaps the student of the title, whose body is composed of the lithic sections of cold colors and whose physical and psychical inner workings are represented in the white shapes that are connected by the nerve-like lines. The figure appears to be seated in a pose of meditation and the white shapes appear to occupy the shakra power centers described in Hinduism
ON RECTO. Signed by artist in white paint, bottom right: JOHN KANE + ON VERSO. Inscribed in black pen on white label, top center: I 24 + Inscribed in black marker on brown paper frame backing, top center: CA 3019 + Affixed down the center of frame backing, six labels for exhibitions and shippers: KUNSTHALLE BADEN-BADEN / HAHN BROTHERS art packers / Museum of Art, Carnegie Institute / The Corcoran Gallery of Art / The Galerie St. Etienne / Regency Worldwide Packing, Inc.
A blue vertical rectangle with a red oblong circle covering its lower section. The red form is cut off at the lower left edge.
This work is one of ten prints published within a portfolio, “Ten Works + Ten Painters”, commissioned by Samuel J. Wagstaff from the Wadsworth Atheneum Museum in 1964. This portfolio was one of the earliest to have several artists published together to make major American artists accessible to a wider audience and range of collectors. Each print in this portfolio was based on a painting the artists had previously created. Some of the artists represented, in addition to Ellsworth Kelly, are Robert Motherwell, Frank Stella, Andy Warhol and Roy Lichtenstein, who were associated with the Pop and Minimalism art movements in the 1960s.
Landscape painting of costal scene overlooking a body of water using an aerial perspective; three tree tops in center in darkened foreground in front of a glowing sky
Seeking solace after the Civil War, Kensett acquired property on Contentment Island on the Long Island Sound near Darien, Connecticut. This painting, probably painted from the artist's third-floor bedroom window or cupola, at the highest point of the island, captures the spirit of a nation in transition after the Civil War and reflects the desire to escape the congestion of growing cities to a place of placid retreat, and a longing to return to nature and the simpler, rural life of early America.
Silver teakettle and stand with hinged handle and opulent repoussé decoration
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
Kirk & Sons, one of the oldest American silver manufacturers, was established in 1815 by Samuel Kirk in Baltimore, Maryland. Their work became renowned for its high-quality, durability and ornate beauty. Kirk reintroduced American silver-making to the tradition of repoussé, a technique of silver design in which the surface pattern is created by beating or applying force to the reverse side to produce the desired design in high relief. The popularity of Kirk & Sons’ work reflected the emergence of the Rococo Revival style in 19th-century America which was characterized by elaborate decoration and ornamental opulence.