Art0634 - Sans Titre

Joan Mitchell

Ladybug, 1957

© Estate of Joan Mitchell

Chop Suey

Artist: Edward Hopper (American, 1882 – 1967)

Date: 1929

Medium: Oil on canvas

Collection: Private collection

Description

The scene depicts two women at a table in a restaurant with another couple in the background. The only features being shown in particular detail are the painted woman’s face, the coat hanging above her, her companion’s back (to the viewer), the features of the couple in the background, the tea pot on the table, the masked lower window panel, and the restaurant sign outside. These are all features that would bring a sensory element (besides sight) to the memory painted: the buzzing noise of the outside light, the voices of the people in the background, the texture of the coat, the taste of the tea and smell of the cigarette smoke (held by the man), and the muddled light from the masked window.

Man Ray, Acrobat, 1945

Louise Bourgeois – She Lost It, (‘92)

André Lhote (1885 - 1962)

La Vallée du Célé or Paysage du Lot

signed A. LHOTE (lower left)

oil on canvas

98,5 x 99,4 cm; 38¾ x 39⅛ in.

Painted in 1912.

Martyr Hill

Artist: O Louis Guglielmi (American, 1906-1956)

Date: c. 1933-1934

Medium: Oil on canvas

Collection: Smithsonian American Art Museum, Washington, DC, United States

Description

The eerie loneliness of Louis Guglielmi's painting Martyr Hill seems surreal. Yet the Grand Army of the Republic Hall in Peterborough, New Hampshire, actually looks much as it does in this painting. Guglielmi, who spent many summers at the MacDowell artist colony in Peterborough, knew the place well. He altered the scene slightly but effectively to create an uneasy, melancholy mood reflecting the troubles of the time.

Sweeping diagonal lines draw the viewer's attention to the GAR Hall, with its spiky finials and a cannon aimed to menace the viewer. In fact, the cannon stands on the opposite side of the hall’s lawn. Guglielmi removed the windows from the hall’s side wall, creating the solid red parallelogram he placed very near the dark front wall of the house in the foreground. This causes the eye to lurch disconcertingly from foreground to background. Nothing in the painting casts a shadow - the buildings therefore look oddly insubstantial. The sculpted bronze soldier on the Civil War Memorial, his head bent in sorrow, underlines the lack of a living person in the scene. The Nubanusit River flows under a bridge and out toward the viewer, who is left with no place to stand.

action of emotions

André Lanskoy (Russian, active in France, 1902-1976), Untitled. Gouache on paper, 47.5 x 62.5 cm.

The White Night  - Alessandro Tofanelli, 2005.

Italian, b. 1959  -

Oil on canvas , 60 × 60 cm