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Leonard Hutton Galleries

Leonard Hutton Galleries

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This painting presents a series of curved and bending lines intersecting with each other in an abstract pattern. The lines create a design resembling tree branches and leafy canopies. The background displays a mix of blue, yellow, and pink colors. At the base of the trees there are two red shapes that could be compared to small animals or creatures amidst the abstract landscape; one of them perches in a tree, while the other is on the ground, looking up.
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

This is a painting of a colorful windmill. The tall windmill dominates the scene, positioned slightly to the right of center. Below is a horizontal strip of land painted in vertical and horizontal lines of green, yellow, blue, orange, purple, and white. The body of the windmill itself is painted in thick lines of white, yellow, and green, with blue shadows. The large blades of the windmill are suggested with lines of green, dark blue, and green, while the pointed roof is purple, black, and dark blue. The sky behind is a chaotic mix of shades of blue, including light blue, teal, blue-gray, and dark blue. Across the painting, the paint has been applied in thick, bold brushstrokes. Each brushstroke is visible, and different colors have been applied directly on top of one another, creating a swirling, fluid effect.
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

The painting features a collection of large, colorful flowers in varied shades of purple, pink, red, blue, orange, yellow, and white. Green stems and leaves surround the colorful flowers. In the top left corner, a person wearing a yellow hat is partially hidden among the foliage, facing the right and reaching towards the flowers. The paint is applied with thick, visible brushstrokes, and few small details are visible.
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

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

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 image depicts a series of flowing lines and soft, sketchy shapes that form abstract human figures. Curved lines create the figures in a standing and reclining position. Broad strokes of green, blue, and red watercolor are applied around the figures, hinting at a background of landscape or vegetation. The standing figure wears a red cap. The reclining figure suggests a relaxed atmosphere.
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

This painting features an abstract composition of geometric shapes and lines on a vertically divided background. The left side is teal and the right side is pink, and both are slight gradients, fading to pale yellow. On the left, overlapping circles in various sizes and shades of brown, green, and blue create a cluster near the top left corner. Below is a grid of rectangles. A thick, black vertical stripe slices through the center, separating the teal and pink sections. On the right, a 3D abstract polygon resembling a faceted gem floats near the top, made of teal, purple, and dark red faces. Below is an inverted triangular shape with three black curved lines.
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