A dark line drawing with white highlights on a tan colored background. It shows a standing male figure in profile, facing left. He has curly hair, a long beard and has classically style draped clothing. He has a vacant gaze and his face is turned downward. there is a partial drawing of draped fabric in the left margin of the work.
This is a figure drawing of Oedipus as an old man. Oedipus was the King of Thebes in Greek mythology who unknowingly fufilled the prophecy that he would kill his father and marry his mother. When the prophecy was fufilled, he gouged his eyes out and went into exile to wander the countryside until his death. The figure of Oedipus was part of a larger tempera painting that Moore designed for the proscenium of the New Queen's Theatre, in Long Acre, London, depicting an ancient Greek audience watching Sophocles' play, "Oedipus at Colonnus".
The drawing explores several manifestations of the circular opening that would become a recurring motif in her sculpture after 1959. The effect Bontecou seems to pursue is the sense that a much deeper space lies behind the paper. The forms have a distinctly organic, extraterrestrial feel to them.
The word “love” printed in capital letters in red on a blue and green background with a black border or frame
”LOVE” exhibits Indiana’s use of vibrating color and simple formal configurations. It was originally designed as a Christmas card commissioned by The Museum of Modern Art in 1965, and reflects Indiana’s Pop-inspired fascination with the power of ordinary words, and is filled with spiritual, social and political overtones, especial when looked at in the historical context of the 1960s.
Lady Eleanor Dundas is shown half length, seated in front of a brown background. She looks towards the light source to the right of the painting. She is dressed in a diaphanous black dress with an Empire cut and black veil. A sheer lace collar frames her throat. She has heavy lidded eyes and an alert or slightly mournful expression
Raeburn was a well-known portrait painter working in his native Scotland. He usually worked directly on the canvas without preliminary under drawing and his broad approach is well conveyed in the figure's costume. He was also very attentive to the sitter's features, framing Lady Dundas's features against the dark veil and gossamer lace of her dress.
An angel, draped with a flowing red mantle, descends on the left from a bank of clouds. He holds a scepter and twisting scroll in his left hand while he points with his right toward a white dove encircled by a halo of light that descends toward a woman dressed in long robes and a veil. She sits, holding a book open on the lectern before her, and draws back slightly with her right hand raised and her eyes downcast. Six cherubim sit above on the edge of the cloudbank, which opens to reveal a male figure barely visible in the blinding light that fills the cloud.
This painting, formerly part of an altarpiece, depicts the Annunciation, an episode recounted in the gospel of Luke in which the archangel Gabriel declared to the Virgin Mary that she would give birth to Christ. Gabriel swoops toward Mary on the left from a dramatically lit cloudbank in which God sits engulfed in light. Mary, interrupted at her reading, looks downward with an expression of humility and submission while the white dove of the Holy Spirit descends toward her. The white lilies in the vase on the balustrade symbolize her purity, while the glass vase serves as a metaphor for how she became pregnant without sin. The animated poses of the figures, the dramatic tonal range of the painting, the passages of vivid color and the energetic brushwork combine to invigorate the scene with an exuberant theatricality.
Mixed media assemblage consisting of goggles, rusted sheets and pieces of metal, a padlock and two rusted bells hanging from a chain mounted on a wooden board with screws.
Created when Vargas was a student at U of M, “Michigan Worker” draws on the tradition of the found object and junk art, as well as a figurative tradition, which he evokes by using industrial materials representing the working class Michigan automotive worker.
The top row of triangles employs the colors mustard yellow, lilac and teal; the bottom row’s triangles are painted in taupe, sage and dusty violet. One of the triangles in this row is left unpainted, which shows the precisely measured and drawn lines that form the triangular composition.
A lithograph image of a group of nude men playing instruments and dancing. The right third of the image is composed of three men, one of whom is lying on the ground and one mid-dance with arms extended, drawn in line sketch without much detail or shading. The rest of the image is of three men with shaded detail playing horn instruments and hand cymbals enthusiastically.
Drawing of a male figure on left wearing a headress and holding a stick-like object with three female figures on the right, two of which are standing behind the third as if holding her up.
Derived from the Old Testament story of the Jewish heroine, Esther, Guercino depicts the dramatic moment when Esther enters the king's presence unbidden and faints in distress. Although she is his queen, no one may approach the king without his permission.
The Museum of Art is fortunate to have two preparatory drawings for the Guercino painting of "Esther Before Ahasuerus" (the other is 1978/2.41). In this work, Guercino is exploring the compositional flow through the relationships between the principal figures: Ahasuerus, his queen Esther, and two attendants who support the queen. Between these two studies, it is possible to examine Guercino's process of arriving at his final composition. This rapid study of the arrangement of the figures shows great movement as the king inclines towards Esther, and as she faints towards the right. The emotional intensity of the scene in this small drawing is apparent in the loose, fluid loops of the pen that describe the drapery as well as in the positions of the figures. The scepter, the formal emblem of clemency occupies the void between the figures.