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.
Black background with red trim on either side, but not on the top and bottom. There is a large orange tiger in the center with a red donkey and blue bird on the left side. Colors of blacks, greens, reds, blues, oranges and yellow. There is lilac trim on the top and bottom of the cloth.
One of a pair of windows with a highly regular, rectilinear, although asymetric, design in both clear and colored glass. Window has an oak frame. Window design consists of vertical and horizontal bands of green and amber colorerd glass at top and bottom of window; along one side are colored squares of glass; along the other is a chevron-shaped column of glass. The overall effect is of colored pieces of glass suspended within a clear window subdivided by abstract bands and patterns of lead caming.
The Darwin Martin house was considered by Wright to be one of the most important and satisfying houses he build in the early part of his career and stands as an outstanding example of Prairie School architecture. This pair of windows (1968/2.53-53) from the first floor of the Martin house contain an abstracted pattern based on wisteria, seen in the vertical row of chevron-patterned glass.
This small watercolor represents a view of a city on the banks of a river. A bridge in the middle ground connects the city, whose buildings run to the water's edge. A woman wearing a bright white shirt with a blue dress and a brilliant red scarf stands in the foreground. A boat covered by a red-and-white striped canopy, poled by a man in the bow, approaches the near shore.
Samuel Prout created this small watercolor of the Italian city of Rimini on the Adriatic coast from drawings made during one of his tours of Italy in the 1820s. The scene offers a picturesque view of the city from the banks of the Marecchia River and includes one of the city's most famous monuments, the Tiberius Bridge, named after the Roman emperor who completed it in 21 C.E. Prout's view of Rimini was also reproduced as a steel engraving, which was published as an illustration in "The Landscape Annual for 1831: The Tourist in Italy," written by Thomas Roscoe.
This sober, pyramidal composition consists of five figures within an interior. A seated woman and child occupy the center of the composition while flanking her to the left is a kneeling older woman with her left hand on the child her right hand on the cradle. To the right of the seated woman is a putti holding a ewer and standing next to a basin. Standing behind the seated woman is a standing woman with hands raised. All of the women are dressed in generalized classical drapery.
Marcantonio Raimondi has long been associated with the Roman works of Raphael and Marcantonio's engravings are often more than mere transcription of Raphael's works. The classical balance and monumentality of this work suggest that this engraving is derived from a design by Raphael. The Virgin and Child with the standing figure behind may also be a reference to Leonardo's "Virgin and St. Anne".
This is a tondo painting with a circular frame that is painted in tones of violet. It is a still-life scene that shows a lamp, resting on a table, set against a green wall. On the wall behind the lamp is a painting, but only the lower right-hand corner is visible due to the sharp curve of the circular format of the painting. On the table, beside the lamp, is a piece of paper and an ink well in the shape of a human figure. The base of the lamp has a curvilinear profile and the pleated shade is painted in bright colors of orange, pink, green and yellow. Both the scene and the frame are painted with short, dot-like brushstrokes.
An abstract image of red, blue, purple, orange and yellow with varying lines going in different directions. One side of the work is the darker colors and slowly changes to the brighter on the right hand side.
Tall hourglass-shaped stand. Composed of three separate parts: two bowls and a connecting cylinder. The pieces are unified with appliquéd bands encircling the cylinder horizontally as well as evenly spaced cut-out shapes of rectangles and triangles leading up the stand vertically in lines.
Possibly for Shamanistic rituals or funeral offerings.