An abstract figure with anthropomorphic qualities stands to the left, with a wing-like object sweeping across the middle of the painting and into the right side, which holds a still life component. The color scheme is predominently cool with warm accents throughout both the figure and the still life.
A small, squat rectangle divided into two halves is centered on a large sheet of paper. The left half is orange at top, red at bottom, with swirling lines of tan and gray; the right half is orange at top, red at bottom, with swirling lines of blue and green. Both sides are dotted with black.
Abstract, organic, linear drawing. The title most likely refers to Brazilian architect Oscar Niemeyer, who is considered one of the most important names in international modern architecture. He was a pioneer in exploring the formal possibilities of reinforced concrete solely for their aesthetic impact. Among his best-known works there are the many public buildings he designed for the city of Brasília, a UNESCO World Heritage Site and the United Nations Headquarters in New York City (with others). As Niemeyer described his aesthetic project: “Not the straight angle that attracts me, nor straight, hard, inflexible, created by man. What attracts me is the free and sensual curve, the curves that find in the mountains of my country, in the course of its winding rivers, the sea waves, the body of the woman preferred. Curves is done throughout the universe, the universe of Einstein's curved.” [http://en.wikipedia.org/wiki/Oscar_Niemeyer]
Going against the descriptiveness of the title, however, Pozzi has stated: “My painting doesn’t start from any premise other than the analysis of its own elementary characteristics. It does not include in its combination of elements outside premises such as mathematics, vegetation, primitive cultures, modern publicity, traditional symbolism, the esoteric or the occult. It is not at the service of anything, it doesn’t represent anything.” (cited in Bret Waller, Works from the Collection of Dorothy and Herbert Vogel exh. cat., University of Michigan Museum of Art)
Earthenware jar with sancai (three-color) glaze in amber, green and cream with blue in a peacock-feather pattern
Sancai, or tri-color wares, were one of the most brilliant innovations of Tang dynasty (618–907) potters. Working with the same clay used to produce white wares, potters added iron and copper oxide colorants to create the typical three-color palette of cream, amber, and olive green. Lead flux made it possible for these colored glazes to fuse to the earthenware body at relatively low kiln temperatures. It also allowed glazes to run, which made them very difficult to control, yet aesthetically appealing.
Print featuring a image of a small boy and a bearded man standing at right near a body of water on left. Small bush at left and trees in the distance.
Already a prolific etcher, Emil Nolde learned the art of woodcut during his brief association with Die Brücke in the years 1906 and 1907. This work from 1906 is part of the artist’s series Märchen (Fairy Tales), made up of ten woodcuts illustrating individual scenes loosely adapted from folk legends, proverbs, and Bavarian glass painting.
In Despair we see an excellent example of Nolde’s early mastery of this print technique. He often incorporated the knots, grains, and inherent imperfections of the wood into his printed works. In this early print we see this impulse not only to make the grain visible but to incorporate it as the basis for the flowing waves of the water, the windblown clouds overhead, and the bent posture of the man at the water’s edge. Further example of his early skill is seen in the bush at the left of the composition, which the artist added using either wood plugs or putty to fill in a previously carved area. The addition creates a formal delineation between foreground and background, giving the entire work a depth it would not otherwise possess.
22.86 cm x 45.72 cm x 22.86 cm (9 in. x 18 in. x 9 in.)
Abstract sculpture in white with red on three ends, with a pattern of small raised bumps covering the entirity of the piece and creating a rough texture. The sculpture is formed with two ball shaped figures on top and two long curves on bottom.
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.
Signed and dated in graphite, l.r.: M. Pechstein 06. Inscribed in graphite, l.l.: Am Wasser Inscribed in graphite, l.l., above collector's mark, "1102"?; LC: "C2 084"; LR corner: "2". Verso, inscribed in graphite, LC: "APG 10417"; LR: "LS". Blind stamp, l.l.: (coat of arms with castle flanked HN, surmounted by a tobacco bush (colletor's mark of Heinrich Neuerburg; Lugt 1344a)
Print depicting two nude males crouching with their back to the viewer while looking out over a body of water
The Expressionist artist Max Pechstein made this woodcut during his years in Dresdan while he was a member of the Brücke group in 1907 (the date 1906 on certain impressions has been thought incorrect). Pechstein's long, curving cuts on the wood block smooth out the anatomy of these crouching male bathers and throw their physiques, sharply illuminated from the left, into stark relief.