Untitled (date unknown)
Screen print on paper
Roy Lichtenstein’s Untitled (date unknown) appears similiar to works in his Modern series which focused on American architecture and design of the 1920s and 1930s. Using his signature style of comic strip-inspired Pop art, Lichtenstein shows several angles of a commercial building, possibly asking viewers to think about industrial advancements in urban areas.
The Lichtenstein print reminded me of this photograph I took in Columbus, Indiana.
Corner of Studio (1973)
Oil on canvas
Jane Freilicher began her career as an abstract painter and later turned to representational paintings of still lifes and landscapes. Corner of Studio depicts the Long Island landscape as seen from the windows of her art studio. She uses minimal details o identify the interior space. At the far left, a drawing or unfinished painting is attached to the wall, and a section of a painted landscape leans against the wall’s surface. Both scenes, the landscape in the painting-within-the-painting and the landscape viewed through the set of windows, share the same sense of flatness, or lack of implied distance.
Untitled (Malcolm X) – 2008
Glenn Ligon – American
Acrylic, vinyl based paint, and graphite on paper mounted on fiberboard
Untitled (Malcolm X) is the result of a workshop Glenn Ligon conducted. He presented children with 1970s-era coloring books that had an agenda — to “normalize images of Black Americans to make them part of history. But to a 3-year-old, none of that matters,” he recalls. Eyeshadow, blush, and lipstick on the man once deemed the most dangerous in America by the New York City Police Department may seem transgressive, but the irreverence intrigued Ligon. He silkscreened the image onto canvas, then faithfully painted the Muslim minister, activist, and black nationalist leader just as the child colored him.
Teaching a Mustang Pony to Pack Dead Game, ca. 1890
Oil on canvas
Growing up in upstate New York, Frederic Remington became entranced by the American West, a place he imagined filled with cowboys, Indians and adventure. Following a trip in 1881 into the Montana Territory, he temporarily adopted the life of a cowboy and began making art that reinforced nostalgic fantasies about the frontier West, which was declared exhausted by the 1890 census.
Teaching a Mustang Pony to Pack Dead Game focuses on cowboys attempting to force a pony to overcome its innate fear of a dead antelope. Remington painted the dynamic black-and-white composition to be an engraved illustration in the August 16, 1890, issue of Harper's Weekly.
Self-Portrait (ca. 1877)
George Caleb Bingham
Oil on canvas
George Caleb Bingham painted this self-portrait, the last of four known, just two years before he died. The painting's composition was inspired by the English artist Sir Edward Landseer, who rendered himself similarly in a canvas that Bingham evidently knew from an engraving. The artist's direct gaze outward places the viewer in the role of a mirror. Bingham wears the toupee he customarily wore due to hair loss as a young man from a bout of smallpox.
Bingham's choice to picture himself sketching reflects the important role drawing played in his art. He drew on paper as well as sketched directly on the canvas for both portraits and genre paintings.
Eric Discerning (2010)
Image of man seated on blue wooden chair in front of window. He is wearing jeans and a wrinkled shirt with the sleeves rolled up. In his right hand, he holds a partially eaten apple. Fruit (pear, strawberry, kiwi, plum, and apple) is laid out on the small white table beside him - each with a large bite taken out of them. Near the lower right is a plate filled with fruit next to a wooden post. This is one image printed across three separate sheets/mounts with narrow white margins.
Portrait Study of a Child
Lilla Cabot Perry
American, 1848 – 1933
Oil on canvas
"Portrait Study of a Child presents Lilla Cabot Perry's poised seven-year-old daughter holding a violin. Confronting the viewer directly and by herself, this likeness of Alice Perry, unlike more sentimental depictions of children of the period, suggests the growing professionalism of women's creative endeavors throughout the late 19th century.
An elite Bostonian, Perry gravitated toward an artistic career beginning in the 1870s and responded to wide-ranging influences. The firm figure drawing evident in "Portrait Study" suggests her Parisian academic training, while her focus on children reveals the impact of painter Mary Cassatt. Furthermore, the portrait's restrained palette indicates Perry's admiration of James McNeill Whistler's unconventionally poetic approach to painting."