Kosciuszko, Pulawski fought for liberty in America, Can you help America fight for freedom in Poland? Eat less sugar, wheat, meat, fats so that we can support our brothers fighting in the allied armies
Text (in Polish): Kosciuszko, Pulawski [sic.] walczyli o wolnosc w Ameryce Czy ty pomozesz Ameryce walczyc o wolnosc w Polsce? Jedz Mniej Pszenicy-miesa-ttuszczy-cukru abysmy mogli pomodz maszym braciom walczactm w Amiach Alianckich - Zarzad Spozywczy Stanow Zjednoconych
This work is a brown rectangle that contains a yellow circle and a yellow hexagon shape with red stencil lettering. At the bottom edge of the rectangle, below the yellow circle, is the word "hexagon". Within the the yellow circle are the words "external" and "hexagon" and within the yellow hexagon shape is a large "6".
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 Robert Indiana, are Robert Motherwell, Frank Stella, Andy Warhol, Ellsworth Kelly and Roy Lichtenstein, who were associated with the Pop and Minimalism art movements in the 1960s.
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.
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.
Landscape scene depicting trees silhouetted against a reddening sky with a dead fallen tree trunk lying diagonally across the foreground.
Influenced by the Barbizon school of painting in France, Inness worked to interpret rather than simply record nature; his loose brushwork, rich palette and use of light evoke palpable atmospheric effects and a strong sense of mood.
This work exhibits many of the trademarks of Inness’ late style: diaphanous paint surfaces, soft vibrating colors, softened edges, and a less panoramic landscape creating a more intimate, personal experience for the viewer; which along with a dramatic juxtaposition of sky and earth and saturated color adds a sense of immediacy and intensity to the work.