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.
The Mirror (1966)
Fairfield Porter (1907-1975)
American, oil on canvas
Fairfield Porter’s The Mirror explores the complex relationship between reality and illusion. In this image, the artist depicts himself painting a portrait of his ten-year-old daughter, Elizabeth. Her gaze, from within the illusionistic space of the canvas, acknowledges the viewer’s presence in “real space”. Simultaneously, the artist’s reflection in the mirror establishes another level of space that is neither ours nor Elizabeth’s.
Porter entered the art world just as the Abstract Expressionists were gaining international recognition. Yet he retained a commitment to the figure and to the traditional painting subjects: landscapes, interiors, still lifes, and portraits.
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.
Starboat (Tugboat and Riverboat) 1966
Oil on canvas
Starboat (Tugboat and Riverboat) is painted with Thiebaud's characteristic sensuous colors and thick impasto. The boat and its reflection are rendered with delicate brush strokes. Sea and sky, boldly defined by a yellow and green horizon line, are laid out in broad swaths with a palette knife. While Thiebaud's work has been associated with Pop art because of its focus on the everyday objects of popular culture, he sees it as part of a long realist tradition.
Mu Nu (Mother and daughter) 1997
Oil on canvas, diptych
The Song Of The Old Mother
by William Butler Yeats
I rise in the dawn, and I kneel and blow
Till the seed of the fire flicker and glow;
And then I must scrub and bake and sweep
Till stars are beginning to blink and peep;
And the young lie long and dream in their bed
Of the matching of ribbons for bosom and head,
And their day goes over in idleness,
And they sigh if the wind but lift a tress:
While I must work because I am old,
And the seed of the fire gets feeble and cold.
Neil Welliver, “Lower Ducktrap” (1978), oil on canvas, 96 x 96 inches
The Beauty of The Heart
The beauty of the heart
is the lasting beauty:
its lips give to drink
of the water of life.
Truly it is the water,
that which pours,
and the one who drinks.
All three become one when
your talisman is shattered.
That oneness you can’t know
Raphael West and Benjamin West Jr., Sons of the Artist, ca. 1796
Oil on canvas
Pennsylvania native Benjamin West was elected in 1792 as president of the prestigious Royal Academy in London, where he had been a resident since 1763. Although the artist's fame depended on history paintings, he painted numerous portraits of his family, including three of his two sons, Raphael and Benjamin, Jr., together. Here the artist's sons appear as sober young men. Even so, their mutual affection is apparent in their relaxed, intertwined pose. The dark shadows and moonlight in the background add a melancholic mood typical of the Romantic sensibility that was gaining popularity in the late 18th century. Both of West's sons worked in their father's studio. Neither man, however, had substantial success as an artist.