Lithograph print on white paper. In the center, a very bulbous teapot, with a large conical mouth and protruding spout, is depicted in crude outline and filled in with patchy dark brown. To the right is a banana and the outline of an apple. A gray background fills the space around the objects and trails off into the white paper at the edges.
Still life with teapot and fruit, executed in a late Cubist style. The emphasis is on a minimal representation of space and objects.
A squat teapot with an upturned spout, executed in gray and white that suggests silverware, sits left of center on a darker gray tray. To the right of the teapot is a lemon in bright yellow. The objects are surounded by black, and there is a dark gray frame of color around the entire print.
A color lithograph still life by Georges Braque. Braque uses the medium to explore minimal representations of objects and space through color, form, and line. The piece is an interesting mix of Cubist and Impressionist representations of perception.
Abstract painting composed of long broad brushstrokes in black and white with a small area of red in the upper left quadrant.
“Untitled” is typical of Kline’s work during the 1950s and 60s, his use of strong lines of black and white paint imparts a sense of the artist’s hand, creating a cacophony of line and gesture. Despite the appearance of the accidental, this work is actually very carefully conceived and consciously constructed. The balance between black and white, volume and void, is precisely thought out while expressing an urgency and vitality.
Large stoneware abstract sculpture with two balanced lateral crescent-shaped forms branching off a central conical structure. Brown with loosely-painted broad brushstrokes in black and incised decoration of rows of dots in a “stitching-like” pattern
Drawing inspiration from Japanese ceramics, American Abstract Expressionist painting, and improvisational jazz, Voulkos pushed the limits of his medium and moved beyond the realm of the ceramic vessel to a new level of sculpted and painted ceramic form.
Inspired by the large-scale, unpremeditated form, free-energy and bold gestural strokes of abstract expressionism, his work became marked by mass and size, spontaneous form, and a bold, painterly use of glazes.
Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
Though the dense tattoo-like pattern that overwhelms the field is abstract, one can discern some recognizable imagery through the random hatch marks, such as the female nude at center. One reviewer described the effect as expressive of “a back-of-the-mind fear we all can identify with sometimes.” (Kimberly Fine, “Joseph Nechvatal and the Lower East Side,” East Village Eye, 15 Oct 1983)
Abstracted, organic shapes in black and gray tones flow through the top three-fourths of the composition. Some small, thumbnail like lines are embedded into the shapes in the center right. A small reddish-colored shape is in the middle of the composition.
Along the bottom of the composition are two horizontal bands with white borders. Within these bands are organic shapes bordered in dark lines. At the top half of the composition is square with white borders that showcases a heavily lined scene reminiscent of waves in the ocean. The background of the piece is highly texturized.
This abstract print is part of the portfolio, A Genesis, which included 14 additional etchings by Peterdi as well as 15 poems by John Ciardi. According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently explores nature, man, and their interrelationships. These relationships work to evoke a sense of continuity and a reaffirmation of life.
Abstract painting dominated by brushstrokes in vivid yellows on white background with light blues in center and left side of canvas, large area of light brown in upper right and lower left, and brushstrokes in dark red in left center of canvas. Signed “hans hofmann” in lower right.
In “Untitled,” Hofmann’s use of shapes, colors, lines, and space echoes nature, producing a new type of landscape; one that is composed, not of trees and land, but of the balance and tension between form, vibrating colors and energetic brushwork.
16.51 cm x 13.34 cm x 12.07 cm (6 1/2 in. x 5 1/4 in. x 4 3/4 in.)
A standing closed vessel with four pointed feet and is box-like in shape. The sides are intrically designed in a herringbone pattern of light blue and yellow matte finish. There is a glazed band in the center of the vessel of purple and pink tones that is also on the top and feet. The top overlaps itself with matte finished areas and glazed finished areas.
The scene depicts a quarter section of the moon on the left side of the composition. The face of the moon is made up of swirling, circular shapes, with two lines that cut through vertically, and two shorter lines on the top left that cut through horizontally. The right side of the composition is solid black, and the details of the moon fade to black near the bottom.
This print is constructed of five horizontal bands of color with a semicircular shape at the top center. The bottom-most band depicts tightly clustered organic shapes with dark borders. The next band has a short, thick, curving line in the center, and a couple other dark organic lines above it. The third and middle band has some hatching and some circular shapes. The fourth band, or the second band from the top, is made up of horizontal lines, with many hatched vertical lines over top of them, reminiscent of grass. The top most band depicts a cellular-like structure, consisting of a diamond pattern. The semicircular shape at the top cuts through the top band, and juts partially into the band underneath it. The semicircle has an organic, circular line formation in the center.
According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently reflects themes of man, nature, and their interrelationships. Additionally, his work his highly influenced by his travels to Mexico, South America, Hawaii, and Alaska. These themes and experiences work together to create sensitive images designed to evoke a sense of continuity and a reaffirmation of 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)
This drawing has abstract forms done in black, brown and white against a plain cream colored background. The forms overlap and bleed color into each other. Some text in the bottom right corner shows "RR 17".