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Downtown Gallery

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An abstracted painting of a roughly oval-shaped jack-in-the-pulpit flower fills this vertical composition with cool, saturated blues, grays, and greens. A royal-blue elongated, rounded core at the bottom center is surrounded by a pale gray flame-like shape. Petals flare outward and up around the core to reach toward the sides and top of the canvas. A thin white line extends upward from the top center of the core to meet the pointed tip of the unfurling, innermost midnight-blue petal. Layers of green, reminiscent of leaves, curl outward around the top half of the flower. Pale blue in each of the four corners creates the impression of a background behind the flower, and fades to white at the top corners.
Georgia O'Keeffe, Jack-in-the-Pulpit No. IV, 1930, oil on canvas, Alfred Stieglitz Collection, Bequest of Georgia O'Keeffe, © Board of Trustees, National Gallery of Art, Washington, 1987.58.3

Jack-in-the-Pulpit No. IV

Georgia O'Keeffe · 1930 · oil on canvas ·  Accession ID  1987.58.3

Two cows stand side-by-side to our right with a path leading to a row of buildings in the distance to our left in this dreamlike, stylized landscape painting. The forms are simplified, angular, and blocky, and seem to be overlapping, though most of the shapes painted with blended strokes. To our right, a black cow stands beyond a brown cow, both facing our left in profile. The heads are triangular and come to exaggerated points under curving horns, and the ribs of the cow closer to us are painted with curving black lines down the body. Their legs also taper to exaggeratedly pointed, tiny hooves. A milk jug sits to our right, behind them. The row of five buildings to our left are created with blocks of white, golden yellow, brick red, and black. A sprig of leaves and a lacy white flower grow to our left on the row of oatmeal-brown rocks jutting up along the bottom edge of the composition. An abstracted shirt-like form floats to our left against the background of teal green that covers the bottom two-thirds of the painting. The area above the buildings is painted with a field of silvery charcoal gray. The artist signed and dated the painting with tiny letters under the brown cow: "Y. Kuniyoshi 23."
Yasuo Kuniyoshi, Cows in Pasture, 1923, oil on canvas, Corcoran Collection (Gift of George Biddle, 1964), 2014.136.94

Cows in Pasture

Yasuo Kuniyoshi · 1923 · oil on canvas ·  Accession ID  2014.136.94

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 shows a seated infant facing forward. The child has a round face with blue eyes and light hair. They wear a white dress with lace and embroidery, painted floral designs in pink and green, and hold a round object tied with a blue ribbon on their lap. Blue shoes are placed next to their bare feet. The background is a plain brown color.
American 19th Century, Innocence, c. 1830, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.30

Innocence

American 19th Century · c. 1830 · oil on canvas ·  Accession ID  1980.62.30

The image shows a full-body drawing of a standing person without distinct facial features, as the face is not visible due to the pose. The person has their arms raised, bent at the elbows with hands placed behind their head, obscuring their face. The individual appears nude, emphasizing the contours of the body. The hair is depicted with textured round shapes above the head, suggesting curly or wavy hair. The background is plain, focusing solely on the outlined figure.
Max Weber, Standing Female Nude, 1912, pen and black ink over graphite on wove paper mounted to wove paper, Corcoran Collection (Museum Purchase, William A. Clark Fund, 1969), 2015.19.2488

Standing Female Nude

Max Weber · 1912 · pen and black ink over graphite on wove paper mounted to wove paper ·  Accession ID  2015.19.2488

Charles Sheeler, Interior, 1940, tempera over graphite on prepared composition board, Gift of Herbert A. Goldstone, 1996.130.3

Interior

Charles Sheeler · 1940 · tempera over graphite on prepared composition board ·  Accession ID  1996.130.3

This painting depicts a landscape with a variety of trees set against a blue-grey sky. Different shades of green are used for the leaves of the trees, which are outlined in dark, reddish-brown. A tree in the center has blue-grey branches and dense, bright green foliage. A small white house is seen to the left. The ground is white with patches of reddish-brown and green-and-blue stripes by the bottom right corner. The brushstrokes in the painting are thick and visible.
Morton Livingston Schamberg, Landscape, c. 1912, oil on composition board, Corcoran Collection (Gift of Joan B. Detweiler, 1962), 2015.19.93

Landscape

Morton Livingston Schamberg · c. 1912 · oil on composition board ·  Accession ID  2015.19.93

This painting shows a pastoral setting with a large white-and-gray house on a hill to the left. Distant people stand in front of the house, along with a horse-drawn wagon. In the bottom right corner, two people sit in the grass under a tree, one dressed in red holding a tall crook and the other wearing a black garment and a yellow hat and petting a large brown-and-white dog. There is a basket on the ground between them, and next to them is a large herd of cows and sheep, all resting on the grass. The landscape includes trees with green leaves and yellow hills in the distance. The sky above is in pastel shades of pink and blue, with fluffy clouds. In the bottom left, a patch of yellow ground has several lines of text written over it.
Edward Hicks, The Grave of William Penn, c. 1847/1848, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.12

The Grave of William Penn

Edward Hicks · c. 1847/1848 · oil on canvas ·  Accession ID  1980.62.12

The image shows a tall, pale green vase containing a bouquet of colorful flowers. The flowers in the bouquet are predominantly red, orange, yellow, and pink against a dark green background. The vase is centrally positioned in the composition, reaching from the bottom to just below the middle of the image, while the bouquet covers the upper center area. The background consists of a blend of dark and medium greens.
Charles Sheeler, Dahlias and Asters, 1912, oil on canvas, Corcoran Collection (Gift of Joan B. Detweiler, 1962), 2014.136.85

Dahlias and Asters

Charles Sheeler · 1912 · oil on canvas ·  Accession ID  2014.136.85

The image is a sketch of a nude woman seated with her knees drawn up toward her chest and her arms wrapped around her legs. Her head is slightly tilted to the side resting on her knees. The woman has curly hair and soft facial features with defined eyebrows. She is not wearing any clothing and there are no visible objects or jewelry. The background is a simple surface with subtle shading.
William Zorach, Reclining Woman, c. 1940, graphite on wove paper, Corcoran Collection (Collection of the Zorach Children, 1967), 2015.19.1061

Reclining Woman

William Zorach · c. 1940 · graphite on wove paper ·  Accession ID  2015.19.1061

Bibliography

1968

  • University of Connecticut Museum of Art. Edith Halpert and the Downtown Gallery. Storrs, Connecticut, 1968.