Tanaka Atsuko Japanese, B.1932

Takashi Isobe.

howardhodgkin 'Rain at ll Palazzo', 1993 - 1998, oil on wood, 149.9 × 192.4сm.

Etel Adnan

Jean-Michel Basquiat Mad King (1981)

James Joyce

Artist: Robert M. Barnes (American, 1934 - )

Date: 1958

Medium: Oil on canvas

Collection: Pennsylvania Academy of Fine Arts, Philadelphia, PA, United States

Biography

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, poet and literary critic. He contributed to the modernist avant-garde movement and is regarded as one of the most influential and important writers of the 20th century. Joyce's novel Ulysses (1922) is a landmark in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, particularly stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, letters, and occasional journalism.

Untitled, 2018

Serge Poliakoff (French, 1906-1969) - Composition, oil on canvas, 162.0 × 130.0 cm 1968-1968

Albert Gleizes

Equistrienne (1916)

Evariste Vital Luminais - Les énervés de Jumièges, 1880

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.