Oval-shaped piece of veined, green Swedish marble standing on one of its narrow ends. Three holes of different sizes penetrate into the object's center. The holes are painted respectively in a semi-gloss black and matte white.
An example of Hepworth's monumental approach to geometric abstraction. Hepworth was intrigued with the way the variegated color of the marble interacts with the biomoprhic and landscape-like curves of the piece. The holes add an aspect of meditation on space to the object.
Signed: James McBey. Numbered: VIII Signed and dated, on plate: MCBEY 10 September 1925 Watermark: crown, etc. Notation, lower margin: Dutch paper early 17th Century (Rembrandt Book) Notation, upper margin: best
A black granite abstract sculpute. Two "legs" rise up toward one another to meet at a point, making a basic triangle shape. At the bottom of the "legs," two horizontal "feet" protrude away from the object's center and end in four-sided points.
Tony Smith's abstract sculpture resonates between the mathematical and the organic, the material and the spiritual. It also shows some of the architectural sense that came from his early career as an architect. Solid and powerful, the piece nevertheless exhibits a kind of movement and flux as viewers move around it.
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.
A human face in anguish, with hands raised to his cheeks, looks out from the center of a visual field full of slashing diagonals and explosive triangles of color. On the left side, smoke billows.
Otto Dix's "Artillery Battle" is a study in the horrible experience of mechanized warfare in World War I. The painting depicts how it felt to be powerless, completely at the mercy of the mighty machines of war, like artillery.