Acquavella Contemporary Art, Inc.

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Two rectangular pieces of paper marked with black lines and geometric shapes are stacked against a light wood background in this vertical collage. The top rectangle is dark brown with parallel lines, nested V-shapes, and rounded sections of an abstracted guitar. Brown string nailed to the wood suggests the strings. The other paper is a lighter tan color, and it is offset up and to our left. Lines capture the curved edge of the guitar and the frets on the neck at the top. A peach-colored ribbon decorated with faint, olive-green leaves runs at a slight upward diagonal to the right behind the papers. The panel beneath is light, cream-colored wood with some visible grain.
Pablo Picasso, Guitar, 1926, collage of wallpaper, carpet tacks, nail, paper, string, and charcoal on wood, Chester Dale Fund, 1982.8.1

Guitar

Pablo Picasso · 1926 · collage of wallpaper, carpet tacks, nail, paper, string, and charcoal on wood ·  Accession ID  1982.8.1

Nine men and women and three pudgy, toddler-aged children gather in small groups under a copse of trees against a deep landscape in this horizontal painting. Most of the people have pale, nearly white skin and a few have darker, peach-toned skin. They all have rosy cheeks, and most have strawberry or honey blond hair. The men and women wear loose robes in shades of topaz and ice blue, vibrant peach, pale pink, or harvest yellow, and the children appear to be nude. Light pours across the scene from the left. Two women sit in the lower left corner of the composition, mostly in shadow presumably created by trees outside our view. One leans toward us holding a tray of fruit with her dress nearly exposing her round breasts. A woman sitting closer to us holds up a fig as a child reaches for the fruit. Closer to us, a muscular man sits on the ground next to an urn the size of a backpack. One child next to the urn sits almost with their back as he holds up a cup, and a gold-colored horn hangs from a ribbon across the torso. Another child other leans forward closer to the man, a bunch of grapes held in both hands. A pile of grape vines with grapes and orange-colored fruit sits between the man and first child. Behind this trio, one woman picks fruit from a leafy tree, which has a grape vine growing around its thick trunk. Another woman sits in the shade of the tree and looks on, a piece of fruit in her hand. The final four people are gathered to the right, where one man supports another who leans limply away from us, one arm slung over his supporter’s shoulders. The partially prone man is bare-chested and wears a crown of grapevine leaves. More leaves are around his waist under a vivid, coral-red cloth, and his feet rest on a pile of figs, fruit, and grapes. A third man in this trio is the only one with a beard. He wears a cheetah animal skin and presses grapes in both hands to fill the cup held by the prone man. A woman stands between the pair, holding more grapes and looking off into the distance. Trees and bushes grow across the left half of the composition, and a distant landscape on the right half opens onto rolling hills and hazy mountains. The sky glows peach along the horizon and deepens to twilight blue across the top half of the painting.
Corrado Giaquinto, Autumn, c. 1740/1750, oil on canvas, Gift of the Rizik Family, 2001.123.1

Autumn

Corrado Giaquinto · c. 1740/1750 · oil on canvas ·  Accession ID  2001.123.1

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Untitled

Robert Goodnough · 1970 · screenprint ·  Accession ID  1976.86.1

Eight men and women, two children, and a baby sit or toil in a barren landscape under a thick blanket of clouds in this horizontal painting. The people all have pale, peachy skin, and they wear tunics and robes in shades of golden yellow, salmon or rose pink, crimson red, lapis blue, and honeydew or laurel green. A man to our left of center raises an ax high over one shoulder as he braces a sandaled foot on a fallen tree trunk. Another person squats and holds another thick log nearby, in the lower left corner of the painting. A third person reaches up to brace a bundle of logs, which are bound with a rope, across his back. A bit behind this group, at the center of the composition, two women, a man, and a baby huddle on the ground around a fire. Logs are tied to create a frame from which a big-bellied pot hangs. Closer to us and to our right, a bearded man, woman, and two children sit in the shelter of a rocky overhang. The man sips wine from a glass as he holds the bottle with his other hand. The woman holds a bowl, and the children sit in front of a pot with glowing embers. One child puts food in their mouth, and the other holds a hand up over the heat. A loaf of bread and a jug sit on a white cloth on a bench nearby. Two cows or steers stand near the arched opening of a bridge to our left, and dark blue clouds press down on snow-covered huts in the distance.
Corrado Giaquinto, Winter, c. 1740/1750, oil on canvas, Gift of the Rizik Family, 2002.155.1

Winter

Corrado Giaquinto · c. 1740/1750 · oil on canvas ·  Accession ID  2002.155.1

Two thin, black, straight lines create a cross above a band of widely spaced, vertical, wavy lines, all against a golden yellow background in this abstract, vertical painting. The cross and the band of wavy lines at its base nearly fill this canvas. Each end of the horizontal line of the cross ends with a black disk. Three crimson-red lines emanate like rays from the sides of each disk. The top of the vertical line of the cross ends with a scarlet-red form that flares into a straight line across the bottom and curves up and over, to our left. That shape is outlined in red and partially filled in with the same color at the curving end. At the bottom of the cross, seven vertical wavy lines are spaced along a horizontal line, all in maroon red. A turquoise-blue star floats over the black disk to our right, and three curved lines in blue, yellow, and red arch in a short, stylized rainbow near the upper right of the painting. The background is mottled with tan and ochre yellow, and speckled with topaz-blue dots mostly in the upper left and the lower right corners. The artist signed and dated the work in tiny letters near the lower right: “Miró 1924.”
Joan Miró, Head of a Catalan Peasant, 1924, oil and crayon on canvas, Gift of the Collectors Committee, 1981.9.1

Head of a Catalan Peasant

Joan Miró · 1924 · oil and crayon on canvas ·  Accession ID  1981.9.1

Larry Poons, Untitled, 1962, graphite and red watercolor on graph paper with blue lines, Andrew W. Mellon Fund, 1975.56.1

Untitled

Larry Poons · 1962 · graphite and red watercolor on graph paper with blue lines ·  Accession ID  1975.56.1

Richard Diebenkorn, Berkeley No. 52, 1955, oil on canvas, Gift of the Collectors Committee, 1986.68.1

Berkeley No. 52

Richard Diebenkorn · 1955 · oil on canvas ·  Accession ID  1986.68.1

The side silhouette of a nude woman with pale skin is reflected along the edge of a tall, rectangular mirror in a room painted in tones of marigold orange, butter yellow, rose pink, peach, aquamarine blue, turquoise, and deep fuchsia in this vertical painting. The left edge of the woman is reflected along the right edge of the mirror, which takes up the left two-thirds of the composition. Only the side of the woman's head and ear, shoulder, arm, breast, hip, and her right leg are captured in the mirror. She holds the hand we can see up to her brown hair. The wall behind the mirror is papered with a pattern of pale pink flowers with mint-green leaves against a field of golden yellow. A pale turquoise rectangle extends into the room from the lower left corner of the canvas, and some perfume bottles sit beyond the far end. The floor of the room in the reflection is patterned with rounded, floral fuchsia-pink shapes against a lilac-purple background. A deep magenta field below an electric-blue band suggests paneling beneath a chair rail. The wall above is streaked with peach, pink, and yellow. A table to our left at the back of the room perhaps holds embroidery. The woman’s body is painted in tones of soft pink with cool blue shadows. The scene is painted with loose, visible brushstrokes so some of the detail is difficult to make out, and it takes time to puzzle out what the scene captures. The artist signed the work with red paint in the upper right corner: “Bonnard.”
Pierre Bonnard, Nude in an Interior, c. 1935, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2006.128.8

Nude in an Interior

Pierre Bonnard · c. 1935 · oil on canvas ·  Accession ID  2006.128.8

Frank Stella, Lac La Rouge II, 1969, watercolor on graph paper, Ailsa Mellon Bruce Fund, 1975.41.1

Lac La Rouge II

Frank Stella · 1969 · watercolor on graph paper ·  Accession ID  1975.41.1

Anthony Caro, National Gallery Ledge Piece, 1978, welded steel, Gift of the Collectors Committee, 1978.21.1

National Gallery Ledge Piece

Anthony Caro · 1978 · welded steel ·  Accession ID  1978.21.1