Artists

Learn about the remarkable lives and innovative processes of painters, sculptors, photographers, and other creators.

Artists

Learn about the remarkable lives and innovative processes of painters, sculptors, photographers, and other creators.

Selected Biographies

Elizabeth Catlett

One transparent, ghostly man sits and twelve more people wearing long robes bow over a long table set under a floating, surreal structure in front of a watery landscape in this horizontal painting. The people all have light or tanned skin. At the center of the table opposite us, a man, Jesus, sits facing us with his left hand, to our right, touching his chest and his other hand raised with the thumb and index finger pointing upward. He has long, blond hair, dark brows, and his square jaw is cleanshaven. A piece of white drapery wraps over one shoulder so half of his chest is bare. His body is outlined with light but is transparent so we see the landscape beyond the table through him. Three men are spaced evenly, shoulder by shoulder, to each side of Jesus on the far side of the table. A pair of men sit at each narrow end, and two men sit on our side of the table, one to either side of Jesus. The men on our side kneel at the table, so presumably the rest do as well. They bow their heads low over their praying hands, which rest on the table. Ten of the men wear silvery-white robes. One man to our left wears a lapis-blue cloak and one to our right wears bumblebee yellow. Eight of the men have dark hair, three have gray hair, and one is blond. The table spans the width of the painting, with the short ends to each side receding sharply back in space so there is room for the men there. The parchment-white cloth covering the table is creased deeply where it had been folded. Two pieces of a round loaf of bread, torn in half, are to either side of Jesus near the edge of the table closer to us. A glass tumbler with red liquid sits near Jesus. The scene is lit from the landscape beyond the table, so the people are slightly backlit, and the shadows and the red glow from the glass extend toward us. A structure above the table is suggested by a floating form of interlocking, golden shapes, like an oversized honeycomb, to create a dome-like space. Coffee-brown areas at the upper corners of the painting suggest a ceiling, but the structure fades to transparency as it nears the table. A shimmering body of periwinkle-blue water stretches from behind the table to a row of low, gossamer-white, rocky mountains along the horizon in the distance. One empty, golden yellow rowboat floats in the water, seen past Jesus's left elbow, and a second, indigo-blue boat has been pulled onto a sandy shore to our left. The sky above is topaz blue around a warm, yellow glow emanating from Jesus. A few taupe and cream-white clouds float across the sky. The artist signed the painting in dark brown on the tablecloth in the lower right: “Gala Salvador Dali 1955.”

Salvador Dalí

Three pale-skinned ballet dancers wearing orange and dark turquoise costumes stand together on a stage in this square composition, which is painted with gouache and drawn with pastel over a monotype print. The dancers are close together near the center of the drawing, between two scrims representing trees, bushes, and grass on the theater set. A backdrop beyond suggests bushes and a tan-colored mountain under a blue sky. Two ballerinas face away from us. The dancer to the left has long, copper-red hair, and the one to the right has long brown hair. That second dancer leans onto one pointed toe. The third dancer, also with brown hair, is closer to and faces us, but she bends forward to adjust one shoe, and her face is hidden behind the stage setting. All three have peach-colored flowers in their hair, and their costumes have knee-length tutus with alternating layers of orange and turquoise. Swag sleeves lie across the dancers' upper arms from their low-cut bodices, and all three wear pale pink ballet slippers. The scene is drawn and painted with loose, visible strokes of paint and pastel, making many details indistinct. The artist signed the lower left corner, “Degas.”

Edgar Degas

Shown from the chest up, a man with short, orange hair and green-tinted, pale skin looks at us, wearing a vivid blue painter's smock in this vertical portrait painting. His smock and the background are painted with long, mostly parallel strokes of cobalt, azure, and lapis blue. His shoulders are angled to our left, and he looks at us from the corners of his blue eyes. He has a long, slightly bumped nose, and his lips are closed within a full, rust-orange beard. He holds a palette and paintbrushes in his left hand, in the lower left corner of the canvas. The background is painted with long brushstrokes that follow the contours of his head and torso to create an aura-like effect.

Vincent van Gogh

Carmen Herrera

Käthe Kollwitz

Joan Miró

Gordon Parks

Rembrandt van Rijn

Auguste Rodin

Mark Rothko

Vertical bands of vibrant, saturated color are created with upright dashes of paint in this abstract, square painting. The colors range widely from primary colors to intense jewel tones, and there is no repeating pattern. The dashes are also varying widths, and bands occasionally repeat so there could be two or more of a single color before another shade marches up the canvas.

Alma Thomas

Johannes Vermeer

This square portrait shows the head and shoulders of a young woman in front of a spiky bush that fills much of the background except for a landscape view that extends into the deep distance to our right. The woman's body is angled to our right but her face turns to us. She has chalk-white, smooth skin with heavily lidded, light brown eyes, and her pale pink lips are closed. Pale blush highlights her cheeks, and she looks either at us or very slightly away from our eyes. Her brown hair is parted down the middle and pulled back, but tight, lively curls frame her face. Her hair turns gold where the light shines on it. She wears a brown dress, trimmed along the square neckline with gold. The front of the bodice is tied with a blue ribbon, and the lacing holes are also edged with gold. A sheer white veil covers her chest and is pinned at the center with a small gold ball. The bush fills the space around her head with copper-brown, spiky leaves. A river winds between trees and rolling hills in the distance to our right. Trees and a town along the horizon, which comes about halfway up the painting, is pale blue under an ice-blue sky.

Leonardo da Vinci

A man’s face printed in hot pink and banana yellow against a black background is repeated four times in this square silkscreen painting. The portraits are arranged in a grid of two by two. The man has a mop of spiky, unruly hair, heavy black brows, and a wide nose. His lips are set in a line over a rounded chin. Each one shows the man with a slightly different expression, some with his chin pulled back and others are straight on, but all look steadily at us with black eyes. The pink and yellow faces overlap but are out of alignment in each portrait. Pink and yellow edges surround each black square.

Andy Warhol

Twelve lines of black text in all capital letters are printed on a square, beige-colored sheet of paper. The lines are centered down the page and divided into four groups set in progressively smaller type sizes. Near the top, the largest text reads, “THE KITCHEN TABLE SERIES.” In smaller text below, “CARRIE MAE WEEMS.” Immediately below that, again in smaller text, “A PORTFOLIO OF TWENTY PLATINUM PRINTS, FOURTEEN TEXT SHEETS, EDITION OF TEN, TWO ARTIST’S PROOFS, WINTER 2003.” The remaining text is printed in five lines at the bottom center of the sheet: “DESIGNED WITH PAMELA VANDERZWAN, PHOTOGRAPHS PRINTED BY JOHN MARCY OF NORTHAMPTON PHOTOGRAPHIC, TEXT PRINTED BY PETER KRUTY EDITIONS, FUNDED WITH GENEROUS SUPPORT, BY PETER NORTON.” Between the text at the center of the sheet and the five lines along the bottom, the artist signed the sheet in graphite: “Carrie M. Weems 9/10.”

Carrie Mae Weems

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Sir Edwin Landseer, The Connoisseurs: Portrait of the Artist with two Dogs, before Jun 1865, oil on canvas, Royal Collection Trust/© His Majesty King Charles III 2022

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