Signed and dated in pencil, l.r.: Glenn Lignon '92 Numbered in pencil, l.l.: 27/45 Printed inscription: I FEEL MOST COLORED WHEN I AM THROWN AGAINST A SHARP WHITE BACKGROUND... (from text by Zora Neale Hurston)
Two sets of concentric arcs of bright colors radiate toward one another from the lower left corner and the upper right corner.
One of Stella's paintings from his Protractor Series, in which he explored the relationship between rounded forms and colors. The form and choice of color here make the arcs appear to be interacting with one another.
Two girls, depicted in bold geometric shapes and block colors, reading a book together. The figure seated at viewer's right, slightly taller, is green and wearing yellow. The figure at viewer's left has a face of blue and white and is clothed in red resting her clasped hands upon an open book.
Two girls in an embrace read a book together. The figure at the viewer's left is Picasso's mistress at the time, Marie-Thérèse Walter. The other figure is thought to be either Olga Koklova, his wife, or Marie-Thérèse's sister. The scene suggests intimacy, yet the distored shapes and vibrant colors evoke a separateness, distance, and give the piece a melancholic feel.
Bust portrait of woman. Her hair is brown, shoulder length, and curls at the bottom. Her high-collared blouse has off-white and light blue vertical stripes. She looks directly at the viewer
Portrait by Picasso of his lover, Françoise Gilot. The portraits of her usually depict Gilot with a sharp, narrow face that recalls portraits of Spanish princesses by Diego Velasquez. Completed on February 28, 1949, one month before the birth of Picasso and Gilot’s second child, Paloma.
This painting depicts the abstract form of a woman sitting in a chair with her head, shown in profile and tilted upward. There is a stringed instrument in her lap and her hands rest on the arms of the chair. It is painted in muted colors of aqua and lavender with brighter areas of yellow, orange and blue. The figure, chair and instrument are created with just a few black lines to suggest their forms.
The painting is an abstract rendering of a woman seated in a chair, playing a mandolin. Picasso has emphasized the theme by including several musical symbols. The subject is Marie Therese Walter, Picasso’s lover at the time.
A bull in the center charges to the left toward a horse rearing up with a bullfighter on its back. The bullfighter leans forward to plunge a spear into the bull's shoulder area. Flags and spectator stands lie in the background.
The Bullfight was with Picasso's dealer at the Paul Rosenberg & Co. New York, the date is not specifcally documented. In 1973 it was in an exhibition at the Wadsworth Atheneum, according to the sticker on the back of the liner, the given owner is the Carey Walker Foundation. After being donated to the museum, "The Bullfight" was in an exhibition at the Picasso Museum in Barcelona, Spain from Oct. 9, 1993 to Jan. 9, 1994. The transportation sticker to Madrid, Spain with the University of Michigan as a lender, was presumably connected to that loan.
A massive harlequin figure, depicted in purples, greens, and yellow, sits in a chair at center, wearing a hat. A plate sits on the left armrest of the chair. The central composition of the seated harlequin is contained within a circular framework.
Between 1922 and 1924, Gris produced sets, costumes, and props for ballet and theatre productions, working most notably with Serge Diaghilev. This is one of the few paintings he produced during that time. The harlequin was a stock character from the theatre and is a recurring figure in Gris's work. This painting is also an example of Gris's late Cubist style.