Provenance

Xavier Fourcade Gallery

Fourcade, Xavier
Xavier Fourcade, Inc.

1970 - 1987

Explore selected works

See all 14 works of art
The top quarter of this horizontal abstract painting is dominated by bright, sunshine yellow over areas of sky blue, moss and forest green, and white below. The painting is made up of four vertical panels joined to make one long composition. Yellow dominates the leftmost panel over a field of pale blue marked with forest and spring green, teal, and yellow, mostly along the bottom edge of the canvas. The field of pale blue and white take up most of the space in the two center panels, with a band of yellow above and deep green marks below. In the rightmost panel, the blue field is more variegated with darker blues, shades of green, white, and yellow. Throughout, some of the colors are layered and sometimes they are applied next to each other. Thick and thin areas of paint and drips create a variety of textures on the surface of each panel. The artist signed this work in pencil in the lower right corner: “Joan Mitchell.”
Joan Mitchell, Salut Tom, 1979, oil on canvas, Corcoran Collection (Gift of the Women's Committee of the Corcoran Gallery of Art, and Museum Purchase with the aid of funds from the National Endowment for the Arts, 1979), 2014.136.135

Salut Tom

Joan Mitchell · 1979 · oil on canvas ·  Accession ID  2014.136.135

This abstract, square painting is filled with geometric shapes of flat color outlined in black. The largest shape is a white square in the center, which is overlapped or further divided into more rectangles in white, sea glass green, or pale pink. Some of the corners of the internal shapes are marked with a circle. A rounded black form, roughly the shape of a bulbous, lowercase h, sits to our left of center against the white square. A bright yellow disk with a crimson-red dot at its center is on the back end of the form. At the bottom right of the white square, there is a tall, blood-red rectangle with an inset, cup-like, steel-gray form at its top. Above the white square are narrow bands of white and soft purple, and below are fields of steel gray and white. A vertical band of buttercup yellow runs up along the top two-thirds of the right edge. The bottom left corner of this yellow shape is cut in with a ruby-red triangle. A collection of smaller, narrow shapes sits to our left of the white square. These include a canary-yellow disk over a tall, white triangle, and sea glass-green rectangle with two black, coffee bean-like forms, a black trapezoid, a topaz-blue square, and two white forms that could be stylized profiles with prominent noses. A band of crimson red flanked by a border of blue above and yellow below runs off the left edge. The field behind this jumble of shapes is pale, blush pink.
Arshile Gorky, Organization, 1933-1936, oil on canvas, Ailsa Mellon Bruce Fund, 1979.13.3

Organization

Arshile Gorky · 1933-1936 · oil on canvas ·  Accession ID  1979.13.3

A young boy with pink and tan-colored skin stands next to a seated woman with an ashen white face, and both look out at us in this vertical portrait painting. The scene is created with broad areas of mottled color in rust and coral red, pale pink, lilac purple, ivory white, and shades of tawny brown. The eyes of both people are heavily outlined with large, dark pupils. To our right, the woman’s pale, oval face is surrounded by a muted, mint-green cloth that covers her hair and wraps across her neck. Her eyes are outlined with charcoal gray, and her heavy lids shaded under arched brows with smoky, plum purple. She has a straight nose, and her burgundy-red lips are closed in a straight line. Her long, rose-pink dress is lavender purple below the knee, and is scrubbed with darker pink strokes across her lap. Her sleeves are tan on the upper arms and cream white on the forearm, over two blush-pink forms that represent her hands resting on her thighs. Along the top of her shoulders, her dress is terracotta red. A rectangular, fog-gray form behind her could be a chair or a half-wall, the top edge of which is higher to our right of her head. To our left, the boy has dark brown, short hair over putty pink, protruding ears. The area between his eyelid and arched brow is filled in with chocolate brown, giving his staring eyes a hooded look. His jawline, chin, and lips are outlined with dark brown. His khaki-brown, knee-length coat has pale, rose-pink sleeves and a black collar. An area of pale, ice blue could be a kerchief or high-collared shirt, and he wears fawn-brown pants. One of his slippers is coffee brown and the other, closer to the woman, is slate gray. He holds a loosely painted, pale, turquoise-blue object in one hand at his waist. The pair are situated against a background painted in areas of coral, ruby, crimson, and wine red. Two vertical, concrete-gray strips behind the boy and woman could be columns. The floor along the bottom edge of the painting is pale pink.
Arshile Gorky, The Artist and His Mother, c. 1926-c. 1942, oil on canvas, Ailsa Mellon Bruce Fund, 1979.13.1

The Artist and His Mother

Arshile Gorky · c. 1926-c. 1942 · oil on canvas ·  Accession ID  1979.13.1

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

Arshile Gorky, Nighttime, Enigma, and Nostalgia, c. 1931-1934, pen and black and brown ink over graphite with scraping on wove paper, Ailsa Mellon Bruce Fund and Andrew W. Mellon Fund, 1979.21.1

Nighttime, Enigma, and Nostalgia

Arshile Gorky · c. 1931-1934 · pen and black and brown ink over graphite with scraping on wove paper ·  Accession ID  1979.21.1

The image contains irregular shapes and bold, curved lines intersecting on a gridded background. Among the composition are shapes resembling a bird's beak or a fish's mouth, along with a figure on the right that could be interpreted as a seated person with wings. Red, black, and blue colors mix within the forms, with squiggly lines suggesting movement or energy.
Arshile Gorky, Untitled, c. 1944, graphite and crayon on wove paper, squared for transfer, Ailsa Mellon Bruce Fund, 1979.13.5

Untitled

Arshile Gorky · c. 1944 · graphite and crayon on wove paper, squared for transfer ·  Accession ID  1979.13.5

Willem de Kooning, Woman I, 1952, pastel, crayon and graphite on wove paper, Andrew W. Mellon Fund, 1978.32.1

Woman I

Willem de Kooning · 1952 · pastel, crayon and graphite on wove paper ·  Accession ID  1978.32.1

The image shows a complex arrangement of flowing lines and sharp angles, creating a sense of movement. It is an abstract design made up of thin, curving strokes, loops, swirls, dots, and dash-like marks. Some lines resemble cascading water or tangled vines, while others resemble bending grass blades in a breeze.
Willem de Kooning, Untitled (Spoleto), 1969, pen and black ink on wove paper, Ailsa Mellon Bruce Fund, 1975.36.1

Untitled (Spoleto)

Willem de Kooning · 1969 · pen and black ink on wove paper ·  Accession ID  1975.36.1

The image showcases an assortment of geometric shapes and gestural lines, creating movement. It presents an abstract composition with arrows, curved lines, and a range of colors. There are painted areas resembling blue and white smudges. The inclusion of handwritten text and markings suggests a work in progress or conceptual design.
Michael Heizer, Actual Size: Empty Film Boxes, 1983, photo-offset, pencil, spray paint, and crayon on zinc plate, Gift of Virginia Dwan, 2018.190.4

Actual Size: Empty Film Boxes

Michael Heizer · 1983 · photo-offset, pencil, spray paint, and crayon on zinc plate ·  Accession ID  2018.190.4

Abstracted forms are painted in grass green, black, pepper red, butter yellow, tawny beige, rose pink, and a few touches of ocean blue in this horizontal composition. The paint is applied thinly, almost like watercolor wash. Translucent layers of paint drip down the canvas and knit the colors and shapes together. Most of the forms create a roughly pyramidal shape at the center. Some are vaguely square-shaped while others are oval, circular, or triangular. Many of the forms are outlined in black, and some have spots of color at their centers. For instance, a cluster of shapes near the lower right includes two canted parallelograms outlined with black. One has an emerald-green oval at its center and the other a black oval. Other shapes in that area include a rust-red triangle, a solid black anvil-shaped form, and a butternut-orange circle surrounded by vibrant yellow. A caramel-brown area spans the bottom edge of the canvas. The artist signed and dated the lower left corner, “A. Gorky 44.”
Arshile Gorky, One Year the Milkweed, 1944, oil on canvas, Ailsa Mellon Bruce Fund, 1979.13.2

One Year the Milkweed

Arshile Gorky · 1944 · oil on canvas ·  Accession ID  1979.13.2