Ian M. Cumming

American, born Canada, 1940 - 2018

Explore Selected Works

George Bellows, The Germans Arrive, 1918, lithograph in black on wove paper, Gift of Ian and Annette Cumming, 2021.48.4

The Germans Arrive

George Bellows · 1918 · lithograph in black on wove paper ·  Accession ID  2021.48.4

A smooth-skinned boy, David, looks down at a severed head lying at his feet in this free-standing white marble sculpture. David’s body and head are angled slightly to our right in this photograph, and we look directly onto the large face of the severed head, which belonged to Goliath. David’s head is bowed, and he wears a ring of flowers over shoulder-length curls. His right hand, to our left, rests on that hip, and his other elbow is propped on a chest-high, bronze harp. Cloth drapes over David’s far shoulder, though his chest is otherwise bare. The fabric twists around the waist and falls to his knees. High boots are laced up over the ankles. One foot rests squarely on the temple of Goliath’s severed head. Goliath’s heavy brows are deeply furrowed over closed, deep-set eyes. His cheeks are lined, his mouth downturned in a bushy, curly beard. A slingshot lies on the base next to Goliath’s head. They are on a thin, disk-like base atop a thicker square base, all carved from marble. The artist inscribed the front face of the lower base to read, “T. CRAWFORD. FECIT. ROME. 1848.”
Thomas Crawford, David Triumphant, model 1845/1846, carved 1848, marble and bronze, Gift of Ian and Annette Cumming, 2008.93.1

David Triumphant

Thomas Crawford · model 1845/1846, carved 1848 · marble and bronze ·  Accession ID  2008.93.1

Jean-Charles Cazin, The Quarry of Monsieur Pascal near Nanterre, c. 1875, oil on canvas, Gift of Ian and Annette Cumming, 2021.48.2

The Quarry of Monsieur Pascal near Nanterre

Jean-Charles Cazin · c. 1875 · oil on canvas ·  Accession ID  2021.48.2

Richard Estes, Portrait of I.M. Pei, 1996, oil on canvas, Gift of Ian M. and Annette P. Cumming, 2020.21.1

Portrait of I.M. Pei

Richard Estes · 1996 · oil on canvas ·  Accession ID  2020.21.1

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Mont St. Michel

David Roberts · 1856 · oil on canvas ·  Accession ID  2022.10.1

George Bellows, The Germans Arrive, 1918, oil on canvas, Gift of Ian and Annette Cumming, 2021.48.3

The Germans Arrive

George Bellows · 1918 · oil on canvas ·  Accession ID  2021.48.3

Chuck Close, Bill Clinton Maquette, 2006, dye diffusion transfer print (Polacolor) mounted on foam core with ink, paint, and masking tape, Gift of Ian and Annette Cumming, 2021.48.1

Bill Clinton Maquette

Chuck Close · 2006 · dye diffusion transfer print (Polacolor) mounted on foam core with ink, paint, and masking tape ·  Accession ID  2021.48.1

Dots and ovals bubbling across a fine grid form the head and shoulders of a smiling, silver-haired man with peach-colored skin, wearing a navy-blue jacket, a white collared shirt, and a pink tie in this vertical portrait painting. The grid runs diagonally to create mostly diamond-shaped squares, with a few rectangles, each of which is filled with concentric circles or ovals around a dot. The man’s face fills most of the composition, and he looks at us with blue eyes. He has a rounded nose and bright white teeth show between full, rosy lips. His hair is short on the sides and a little longer and brushed back on top. The background is mostly slate blue but also has squares and circles in brick red, mustard yellow, and teal green. The overall effect is of a slightly unfocused, pixelated image because of the grid and nested circles used to create each unit.
Chuck Close, President Bill Clinton, 2006, oil on linen, Gift of Ian and Annette Cumming, 2007.151.1

President Bill Clinton

Chuck Close · 2006 · oil on linen ·  Accession ID  2007.151.1

Dots and ovals bubbling across a fine grid form the head of a light-skinned man with his face angled to our right in this vertical portrait painting. The grid runs diagonally to create mostly diamond-shaped squares and some rectangles, each of which is filled with concentric circles or ovals around a dot. The man’s face fills the composition and extends off each edge except the right, where a narrow dark margin separates the man’s cheek from the edge of the canvas. Because of the way the eyes are fractured into cell-like units, it is hard to tell if he looks at us or just off to our right. He has a high forehead, receding gray hair, sloping nose, long upper lip, downturned mouth, sagging jowls, and rounded chin. The overall effect is of a slightly unfocused, surreally pixelated image.
Chuck Close, Jasper, 1997-1998, oil on canvas, Gift of Ian and Annette Cumming, 2004.141.1

Jasper

Chuck Close · 1997-1998 · oil on canvas ·  Accession ID  2004.141.1