Provenance

Stephen Hahn

Hahn, Carla Mrs.

Explore selected works

See all 25 works of art
Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.
Jean Dubuffet, Façades d'immeubles (Building Façades), 1946, oil on canvas, Gift of the Stephen Hahn Family Collection, 1995.30.3

Façades d'immeubles (Building Façades)

Jean Dubuffet · 1946 · oil on canvas ·  Accession ID  1995.30.3

The sculpture is abstract and has a rugged, textured surface resembling natural rock or lava formations. It is predominantly dark gray with rust-colored patches. The material appears to be stone or metal with a rough, porous texture. The sculpture stands upright on a beige base. Its form is irregular and asymmetrical, with numerous protrusions and recesses.
Jean Dubuffet, L'amphigourique (The Amphigoric One), 1954, slag, Gift of the Stephen Hahn Family Collection, 1995.30.5

L'amphigourique (The Amphigoric One)

Jean Dubuffet · 1954 · slag ·  Accession ID  1995.30.5

The image consists of bold, uneven lines and irregular shapes in bright colors, creating an abstract composition. These shapes form a backdrop resembling a cityscape or marketplace, with text and scattered human-like figures in a cartoonish style. The figures are depicted walking or standing among the colorful structures, lined with words in various sizes and orientations. The overall impression is of a bustling, chaotic scene.
Jean Dubuffet, L'Arnaque (The Swindle), 1962, gouache on wove paper, Gift of the Stephen Hahn Family Collection, 1995.29.25

L'Arnaque (The Swindle)

Jean Dubuffet · 1962 · gouache on wove paper ·  Accession ID  1995.29.25

The image depicts a series of rectangular and square shapes arranged in a grid-like pattern to form the facade of a building. Elements such as a bus, cars, and a cafe are recognizable within the abstract city scene. The bus, labeled "96," has wheels resembling flower petals and includes abstract faces inside. The background shows a building with repetitive window-like rectangles, suggesting an urban setting. The cafe sign reads "CAFE AU DAMIER."
Jean Dubuffet, Café au damier, 1961, gouache, watercolor, pen and black ink and collage over graphite on wove paper, Gift of the Stephen Hahn Family Collection, 1995.29.24

Café au damier

Jean Dubuffet · 1961 · gouache, watercolor, pen and black ink and collage over graphite on wove paper ·  Accession ID  1995.29.24

The image features swirling and intersecting lines creating an abstract composition of twisted and elongated forms. There is a central figure with sweeping curves and rounded shapes, accompanied by scattered dots for texture. Earthy tones are mixed with splashes of green and red, resembling a fantastical forest or untamed landscape. The abstract painting can evoke images from nature and mythology.
Jean Dubuffet, Vache la belle allègre (The Beautiful and Sprightly Cow), 1954, oil on canvas, Gift of the Stephen Hahn Family Collection, 1995.29.11

Vache la belle allègre (The Beautiful and Sprightly Cow)

Jean Dubuffet · 1954 · oil on canvas ·  Accession ID  1995.29.11

The image displays bold, curving lines and vibrant colors creating abstract shapes representing an animal and a human figure. A deep red shape with a blue outline and circular marks suggests an animal, possibly resembling an ox or cow. The figure has an elongated neck, head, and curved horns. Below, an abstract form in flesh tones with a blue outline resembles a crouching human figure reaching for a purple bucket with a white element inside. The background features green and orange strokes that abstractly resemble grass and earth.
Jean Dubuffet, Grande traite solitaire (The Large Solitary Milking), 1943, oil on canvas, Gift of the Stephen Hahn Family Collection, 1995.29.16

Grande traite solitaire (The Large Solitary Milking)

Jean Dubuffet · 1943 · oil on canvas ·  Accession ID  1995.29.16

This painting shows geometric shapes and intersecting lines that suggest a group of people in a fractured view. Angular planes suggest faces and limbs, with colorful shapes that could be clothing. In the center, shapes form the vague appearance of a person in a light blue shirt with light brown skin holding a brown oval. Other people seem to reach towards this person, with disembodied hands pointing towards the center of the painting. At the bottom of the painting, several sets of legs and feet are visible. At the top, white curving shapes could indicate smoke or clouds.
Albert Gleizes, Football Players, 1912/1913, oil on canvas, Ailsa Mellon Bruce Fund, 1970.11.1

Football Players

Albert Gleizes · 1912/1913 · oil on canvas ·  Accession ID  1970.11.1

The image shows an abstract humanoid figure created from irregular shapes and lines against a textured background with dark and light brown tones. The figure is composed of fragmented geometric pieces resembling a patchwork or mosaic. Its segmented limbs suggest a connection to a marionette or puppet in motion. The texture and color palette give an impression of rusted metal or weathered stone.
Jean Dubuffet, l'Heureux de peu (Happy with Little), 1957, oil and collage elements on wove paper mounted to canvas, Gift of the Stephen Hahn Family Collection, 1995.29.22

l'Heureux de peu (Happy with Little)

Jean Dubuffet · 1957 · oil and collage elements on wove paper mounted to canvas ·  Accession ID  1995.29.22

The image shows abstract shapes with bold lines and forms resembling two faces in profile facing each other. The shapes suggest overlapping silhouettes or mask-like figures with large eyes, noses, and prominent lips created with black strokes on a textured, neutral background. The merging contours of the faces create a mirrored or symmetrical design, evoking the image of two people engaged in interaction.
Jean Dubuffet, Colloque II (Colloquy II), 1946, gouache and lacquered paint on paper mounted to board, Gift of the Stephen Hahn Family Collection, 1995.29.19

Colloque II (Colloquy II)

Jean Dubuffet · 1946 · gouache and lacquered paint on paper mounted to board ·  Accession ID  1995.29.19

The image shows an array of butterfly-like shapes arranged in patterns with intersecting lines and overlapping forms, creating an abstract composition. The shapes resemble butterfly wings with intricate patterns, densely packed together. The overall impression is one of movement and vitality.
Jean Dubuffet, Jardin de Bibi Trompette (Bibi Trompette's Garden), 1955, butterfly wings, gouache, and watercolor on wove paper mounted to paperboard, Gift of the Stephen Hahn Family Collection, 1995.29.21

Jardin de Bibi Trompette (Bibi Trompette's Garden)

Jean Dubuffet · 1955 · butterfly wings, gouache, and watercolor on wove paper mounted to paperboard ·  Accession ID  1995.29.21