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Weyhe Gallery

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The image displays flowing, curved lines and shapes overlapping to create an abstract composition. The forms suggest the outline of a reclining human figure, resembling the interplay of shadows and light on a relaxed body.
Max Weber, Reclining Nude, 1924, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.62

Reclining Nude

Max Weber · 1924 · woodcut in black on laid paper ·  Accession ID  2015.114.62

This print is an abstract, close-up sketch of a person's upper body, focusing primarily on their face and hands. The person's face has exaggerated features, including large eyes and a sharp nose. Their hair is depicted in swirling strokes that extend outward. The person's hand is raised, showing long, thin fingers. The portrait is rendered in dynamic, sweeping black lines. The background is plain, off-white paper.
Walter Gramatté, unidentified, Gustav Kiepenheuer, The Great Anxiety (Self-Portrait, in Three-Quarter Profile to the Right) (Die große Angst [Selbstportrat, Kopf im Halbprofil nach rechts]), 1918, drypoint on wove paper, Ruth and Jacob Kainen Collection, 1989.80.3

The Great Anxiety (Self-Portrait, in Three-Quarter Profile to the Right) (Die große Angst [Selbstportrat, Kopf im Halbprofil nach rechts])

Walter Gramatté, unidentified, Gustav Kiepenheuer · 1918 · drypoint on wove paper ·  Accession ID  1989.80.3

Fields of elephant gray, coral orange, and turquoise surround a fan-like, abstracted palm frond near the center of this vertical, abstract painting. The fronds of the palm radiate like a starburst against unpainted, cream-white canvas. Three black, vertical bands spaced behind the palm suggest tree trunks, with the rightmost trunk dotted with spring green, perhaps representing moss or the leaves of a vine. The fields of gray to either side of the frond, the turquoise areas below the gray, and the coral at the bottom center are painted with visible brushstrokes, creating a mottled effect. Rounded turquoise forms above the gray are silhouetted against a field of pale blue, perhaps representing the sky along the top edge. A few pointed, oval leaves painted spring green with black outlines dip into the scene from the top of the composition. The artist signed the work in dark green paint in the lower right: “Henri-Matisse.”
Henri Matisse, Palm Leaf, Tangier, 1912, oil on canvas, Chester Dale Fund, 1978.73.1

Palm Leaf, Tangier

Henri Matisse · 1912 · oil on canvas ·  Accession ID  1978.73.1

The image contains intricate lines and circular shapes, centering on a clock face with Roman numerals. Fantastical creatures with elongated wings are depicted around the clock. Various motifs such as birds, human figures, a ship, and theatrical scenes are included in the composition. In the lower left, there is a chariot-like shape being drawn by an animal. The lines swirl around the figures, giving a sense of motion and chaos to the arrangement.
Reinhold Nägele, 12 Uhr Mittags, 1919, etching on laid tissue paper, Gift of Ruth Cole Kainen, 2012.92.405

12 Uhr Mittags

Reinhold Nägele · 1919 · etching on laid tissue paper ·  Accession ID  2012.92.405

The image displays a complex composition of bold, curving shapes and sharp, angular lines, creating an abstract design. It utilizes contrasting dark and light hues to outline a figure resembling a reclining human form, potentially in a contemplative or relaxed pose. The abstract artwork conveys a sense of movement and energy within a rectangular frame.
Max Weber, Nude with Upraised Arm, 1919-1920, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.25

Nude with Upraised Arm

Max Weber · 1919-1920 · woodcut in black on laid paper ·  Accession ID  2015.114.25

The image depicts an abstract illustration showing multiple stylized figures, some full bodies and others partially visible. The figures have minimalistic facial features and hair indicated with bold lines or shapes. They are depicted in clothing that suggests long dresses or robes, with some wearing cross-shaped necklaces. Sketch-like marks surround the figures, along with what appears to be a small animal on the ground nearby. In the background, there are vertical elements that could represent trees or poles against a textured backdrop.
Eva Marie Schlenzig, School Outing, c. 1930, lithograph on wove cream paper, Gift of Ruth Cole Kainen, 2012.92.459

School Outing

Eva Marie Schlenzig · c. 1930 · lithograph on wove cream paper ·  Accession ID  2012.92.459

The image shows a group of figures on interconnected staircases within a setting of archways and walls. The style is loose with expressive strokes conveying movement and atmosphere. The figures are elongated and abstract, set against a dark and textured background.
Eva Marie Schlenzig, Staircase Alley in Fiesole, c. 1930, lithograph on wove cream paper, Gift of Ruth Cole Kainen, 2012.92.458

Staircase Alley in Fiesole

Eva Marie Schlenzig · c. 1930 · lithograph on wove cream paper ·  Accession ID  2012.92.458

The image shows a series of bold, elongated shapes and lines enclosed within a rectangular frame, creating an abstract composition. At the center, there is an oval shape with a pointed bottom. Surrounding this central form are angular lines and geometric patterns. The artwork invites comparisons to familiar objects while maintaining an enigmatic quality.
Max Weber, Figure, 1951-1952, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.65

Figure

Max Weber · 1951-1952 · woodcut in black on laid paper ·  Accession ID  2015.114.65

The image shows a rectangular block with bold, angular lines and shapes forming an abstract figure. The composition suggests a silhouette of a person-like form, with a round shape at the top resembling a head and blocky shapes below hinting at a body and limbs. Contrasting light and dark areas within the rectangle create depth, and the geometric forms evoke familiar objects such as a figure in a suit or armor in a static pose.
Max Weber, Standing Female Figure, 1951-1952, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.66

Standing Female Figure

Max Weber · 1951-1952 · woodcut in black on laid paper ·  Accession ID  2015.114.66

The image consists of a series of bold, curved lines and forms arranged within a rectangular frame, creating an abstract composition. The design vaguely suggests the shape of a vase or a stylized human figure. The dark lines contrast with the light background.
Max Weber, Seated Figure, 1951-1952, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.64

Seated Figure

Max Weber · 1951-1952 · woodcut in black on laid paper ·  Accession ID  2015.114.64