Downtown Gallery

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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), 2014.136.94

Cows in Pasture

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

A pale-skinned child wearing a short-sleeved red dress and a white bonnet stands before a shadowy green forest under dark clouds in this vertical portrait painting. The child’s over-large head is out of scale with the rest of her body. She looks toward us with brown eyes in her wide, round-jawed face. She has a broad nose, and her pale lips are set in a line. Her lace bonnet lines her black hair like frothy seafoam and is tied with spring-green bows at the top and under her right ear, to our left. The low neckline of her crimson dress is lined with a wide white ruffle. Red fabric covers her hands, which are gathered in front of her waist. Gray clouds sweep over the hazy green forest in the background. A gnarled tree grows up the left side of the painting, framing the girl.
Edward Hicks, Portrait of a Child, c. 1840, oil on wood, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.14

Portrait of a Child

Edward Hicks · c. 1840 · oil on wood ·  Accession ID  1980.62.14

The Gansevoort Limner, Pieter Vanderlyn, Miss Van Alen, c. 1735, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1956.13.14

Miss Van Alen

The Gansevoort Limner, Pieter Vanderlyn · c. 1735 · oil on canvas ·  Accession ID  1956.13.14

Asahel Powers, Possibly Mrs. William Sheldon, c. 1831, oil on wood, Gift of Edgar William and Bernice Chrysler Garbisch, 1953.5.51

Possibly Mrs. William Sheldon

Asahel Powers · c. 1831 · oil on wood ·  Accession ID  1953.5.51

Charles Sheeler, Western Industrial, 1954, tempera on glass, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2015.19.100

Western Industrial

Charles Sheeler · 1954 · tempera on glass ·  Accession ID  2015.19.100

Edward Hicks, The Landing of Columbus, c. 1837, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.13

The Landing of Columbus

Edward Hicks · c. 1837 · oil on canvas ·  Accession ID  1980.62.13

Asahel Powers, Possibly William Sheldon, c. 1831, oil on wood, Gift of Edgar William and Bernice Chrysler Garbisch, 1953.5.50

Possibly William Sheldon

Asahel Powers · c. 1831 · oil on wood ·  Accession ID  1953.5.50

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Accident

Robert Rauschenberg, Universal Limited Art Editions, Universal Limited Art Editions, Robert Blackburn, Zigmunds Priede · 1963 · lithograph on Rives BFK wove paper ·  Accession ID  2015.19.1020

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, 1987.58.3

Jack-in-the-Pulpit No. IV

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

Joseph Whiting Stock, Girl with Reticule and Rose, c. 1840, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.8

Girl with Reticule and Rose

Joseph Whiting Stock · c. 1840 · oil on canvas ·  Accession ID  1980.62.8