Provenance

Leonard Hutton Galleries

Explore Selected Works

A collection of geometric shapes, many painted a single color, are arranged on a background painted to look like wood grain in this abstract vertical composition. A silvery gray, upside down, wide L shape fills most of the upper half to our right of center. On it, a rose-pink square is attached to an ivory-white rectangle suggestive of a handle, and a black triangle with a similar handle sits on the L form to our left. A rectangular piece of corrugated silver metal is tucked into the corner of the L shape. A black circle, a white conical form, and a curving, sage-green piece create a row from right to left down into the lower left corner of the composition.
Ivan Puni, Suprematist Construction Montage, 1915/1916, painted wood, metal and cardboard, Andrew W. Mellon Fund, 1976.70.1

Suprematist Construction Montage

Ivan Puni · 1915/1916 · painted wood, metal and cardboard ·  Accession ID  1976.70.1

The bodies and bicycles of five stylized cyclists fill this nearly square painting so parts of some of their bodies and bicycles are cut by the edges of the canvas. Shown against a background of mottled shell pink and light gray, the riders are closely packed, their wheels and bodies overlapping, and they seem close to us as they race to our right in profile. All lean low over their handlebars. The faces of the three riders at the front of the pack have lemon-yellow skin. The person at the top of the composition, seeming the farthest away from us, has ivory-colored skin, and the person at the back, to our left, has brown skin. They all wear different colored clothing. The racer at the front wears all black, and the one closest to us celery green with fuchsia around the hips. The cyclists farthest from us wear rust orange or canary yellow. The racer with brown skin wears frosty blue. The frames of the bicycles are dark forest green or black, and the colors of the wheels are either yellow or turquoise. The people’s faces and bodies are abstracted into flat, hard-edges shapes. The angles formed by their torsos, arms, and legs are echoed by the angles of their bicycles’ dark metal frames.
Lyonel Feininger, The Bicycle Race, 1912, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.17

The Bicycle Race

Lyonel Feininger · 1912 · oil on canvas ·  Accession ID  1985.64.17

Emil Nolde, Flower Garden, Kneeling Woman with Hat, 1908, oil on canvas, Collection of Arnold and Joan Saltzman, 2020.112.4

Flower Garden, Kneeling Woman with Hat

Emil Nolde · 1908 · oil on canvas ·  Accession ID  2020.112.4

Wassily Kandinsky, Geteilt (Divided), 1928, watercolor and ink on wove paper on Kandinsky's original black paper mount, Gift of Mr. and Mrs. Stephen M. Kellen, 1999.51.1

Geteilt (Divided)

Wassily Kandinsky · 1928 · watercolor and ink on wove paper on Kandinsky's original black paper mount ·  Accession ID  1999.51.1

Erich Heckel, The Mill (at Goppeln), 1907, oil on canvas, Collection of Arnold and Joan Saltzman, 2020.112.7

The Mill (at Goppeln)

Erich Heckel · 1907 · oil on canvas ·  Accession ID  2020.112.7

Ernst Ludwig Kirchner, Two Bathers near the Woods, 1910/1911, watercolor and graphite on wove paper, Gift of Ruth Cole Kainen, 2012.92.119

Two Bathers near the Woods

Ernst Ludwig Kirchner · 1910/1911 · watercolor and graphite on wove paper ·  Accession ID  2012.92.119

Franz Marc, Weasels at Play, 1911, oil on canvas, Collection of Arnold and Joan Saltzman, 2020.112.2

Weasels at Play

Franz Marc · 1911 · oil on canvas ·  Accession ID  2020.112.2