Provenance

Jack Vanderryn

Vanderryn, Margrit

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The image shows geometric lines and shapes forming an abstract composition with a central figure. The central figure resembles a humanoid shape with a face featuring large eyes and a prominent nose. The colors used are blue, red, and orange, which suggest clothing or layers. Surrounding vertical and diagonal lines give the impression of a window frame or an archway enclosing the central figure.
Max Weber, Seated Figure, 1919-1920, color woodcut on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.8

Seated Figure

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  2015.114.8

The image displays a series of bold, dark lines and shapes arranged in an abstract composition within a rectangular border. The forms within the composition suggest human figures with recognizable features like eyes and facial outlines, creating the impression of a group of people. The design hints at familiar objects, with some sections resembling seated or reclining figures, potentially implying a gathering or interaction. The artwork's intricate interplay of curves and angles enhances its abstract quality, encouraging viewers to discern human elements within the abstraction.
Max Weber, Frieze, 1919-1920, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 1997.128.3

Frieze

Max Weber · 1919-1920 · woodcut in black on laid paper ·  Accession ID  1997.128.3

The image features a close-up illustration of a man's face, focusing on his head and shoulders. The man has a rugged appearance with detailed facial features such as deeply set eyes, a prominent nose, and a beard. He wears a cap that partially covers his forehead and hair, along with a collared shirt. The background is a light green gradient with minimal detail, and the man's silhouette is enclosed in an oval shape.
Leonard Baskin, Leonard Baskin AET 42, 1961/1962, woodcut in green and black on wove paper, Gift in memory of Alan Ostrow, 2006.114.1

Leonard Baskin AET 42

Leonard Baskin · 1961/1962 · woodcut in green and black on wove paper ·  Accession ID  2006.114.1

The image shows a grid-like pattern of vertical and horizontal lines. Solid and hollow shapes alternate along the edges. In the center of the bottom band are rectangular forms resembling pillars topped with circular shapes. The abstract style features geometric shapes suggesting a minimalist architectural design, reminiscent of a modern city skyline or a decorative border.
Max Weber, The Spiral Press, Joseph Blumenthal, A. George Hoffman, Primitives, 1926, bound volume with facsimiles of 10 woodcuts and 1 linocut, including one signed by the artist, Gift of Jack and Margrit Vanderryn, 2015.114.21

Primitives

Max Weber, The Spiral Press, Joseph Blumenthal, A. George Hoffman · 1926 · bound volume with facsimiles of 10 woodcuts and 1 linocut, including one signed by the artist ·  Accession ID  2015.114.21

The image shows a composition with curving and interlocking lines forming an abstract design. The shapes resemble intertwined figures, hinting at a reclining pose. Bold shading and contrast give depth, and the abstraction prompts viewers to see connections to familiar objects through a cubist lens.
Max Weber, Reclining Nude, 1924-1930, woodcut in black on wove paper, Gift of Jack and Margrit Vanderryn, 1997.128.25

Reclining Nude

Max Weber · 1924-1930 · woodcut in black on wove paper ·  Accession ID  1997.128.25

The image shows abstract shapes and lines depicting a figure with elongated facial features and crossed arms, standing next to a stylized tree. The figure has a long face and the tree has a trunk with green and brown patches indicating leaves. The textured background adds depth to the scene.
Max Weber, Invocation, 1919-1920, color woodcut on laid paper, Gift of Jack and Margrit Vanderryn, 1997.128.14

Invocation

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  1997.128.14

The image shows three abstract figures sitting around a table with a blue object in the center. The figures are wearing hats and engaging in conversation, with one figure facing away from the viewer. The background is muted and multicolored, framed with a rough border.
Max Weber, Three Figures Reading, 1920, color linocut on laid paper mounted to paperboard, Gift of Jack and Margrit Vanderryn, 2015.114.18

Three Figures Reading

Max Weber · 1920 · color linocut on laid paper mounted to paperboard ·  Accession ID  2015.114.18

The image displays elongated and angular shapes with bold lines, creating an abstract composition. The forms resemble elongated faces or figures. Rectangular shapes surround the figures, potentially implying a table or shared object that connects them together.
Max Weber, Feast of Passover, 1920, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 1997.128.16

Feast of Passover

Max Weber · 1920 · woodcut in black on laid paper ·  Accession ID  1997.128.16

The image showcases an array of swirling, layered shapes with varying thickness of lines, creating a dynamic texture. The abstract piece resembles rugged landscapes or weathered surfaces, with patterns suggesting natural formations such as rock or wood grain. The overlapping textures and sporadic speckling throughout the composition can remind one of tree bark or fossil-like impressions, enhancing its connection to natural elements.
John Clem Clarke, Black and White Abstract, 1972, four-color screenprint on John Bartcham Green Paper, Gift in honor of Anne-Michele Ostrow, 2006.114.2

Black and White Abstract

John Clem Clarke · 1972 · four-color screenprint on John Bartcham Green Paper ·  Accession ID  2006.114.2

The image depicts bold, curving lines and block-like shapes forming an abstract representation of two figures in a vertically rectangular frame. The artwork resembles a cloaked figure embracing a smaller, hooded individual. The heavy lines and simplified forms emphasize the connectivity between the figures. The composition is reminiscent of a woodcut print style with a contrast between dark lines and a light background.
Max Weber, Mother and Child, 1919-1920, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 1997.128.8

Mother and Child

Max Weber · 1919-1920 · woodcut in black on laid paper ·  Accession ID  1997.128.8