Provenance

Middendorf Gallery

Middendorf/Lane

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The image depicts an abstract composition with elongated shapes and lines forming a vertical central figure. Enclosed within a rectangular frame with uneven and colorful borders, the central figure resembles a stylized face. The face consists of a long, narrow nose and curved lines indicating eyebrows and minimalist eyes, with a small red form at the bottom suggesting lips. Surrounding this face-like structure are bands of color, including blue, orange, pink, and black, which evoke the image of a traditional mask or a simplified human face, contributing to the abstract quality of the artwork.
Max Weber, Head and Shoulders of Figure, 1919-1920, color woodcut on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.15

Head and Shoulders of Figure

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  2015.114.15

The image consists of abstract shapes forming a figure that appears to be crouching. The use of curved and angled lines in soft, earthy tones with textured brush strokes suggests a human form. The artwork depicts a crouching figure with elements resembling human gestures, such as a back curve or elbow bend, in a stylized and abstract way. The strokes and colors create depth and texture, with darker tones implying hair or shadow.
Max Weber, Crouching Nude, 1919-1920, color woodcut on wove paper, Gift of Daryl and Lee Rubenstein, 1976.60.1

Crouching Nude

Max Weber · 1919-1920 · color woodcut on wove paper ·  Accession ID  1976.60.1

The image shows an abstract composition with textured patches and shapes forming a roughly outlined seated human figure. The figure is made up of various shades including browns, reds, and blacks. The abstract design allows for interpretation of the figure as having arms wrapped around bent knees. Blotchy and uneven lines add to the abstraction, with splashes of color like yellow and deep purple accentuating the figure.
Max Weber, Crouching Nude, 1919-1920, color woodcut on laid paper, Print Purchase Fund (Rosenwald Collection), 1976.61.2

Crouching Nude

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  1976.61.2

Two ships and two sailboats, all with full sails, float on a gently rippling body of water in front of a pale pastel-shaded sky in this horizontal painting. A rounded rock projects from the water near the center of the painting in the hazy near distance. One ship with two masts to the left of the rock has three people standing on the port side of the deck, closer to us. Between us and the ship, a man wearing a red shirt and a flat-topped brown hat and with two traps on his rowboat travels toward the ship. Three ships cluster to the right of the rock. Four men and seven wooden barrels are aboard a three-masted sailboat with two dinghies trailing behind. To our right is a smaller sailboat with four men gathered in the stern. The third vessel on this side has at least two masts with multiple sails. The rigging of all the ships is delicately outlined against the sky, which is tinged with pale yellow and lavender purple. The low sun behind the sails of the first ship creates a golden glow around the rock and along the horizon, which comes just over a quarter of the way up this painting. The water becomes silvery gray blended with light brown along the bottom edge of the composition. A band of hazy, violet clouds line the low horizon where more white boats sail in the far distance. The artist signed and dated in lower right corner, “F.H.Lane. 1860.”
Fitz Henry Lane, Becalmed off Halfway Rock, 1860, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, in Honor of the 50th Anniversary of the National Gallery of Art, 1992.51.8

Becalmed off Halfway Rock

Fitz Henry Lane · 1860 · oil on canvas ·  Accession ID  1992.51.8

The image depicts bold, angular lines and irregular shapes forming an abstract representation. In the center, there is a figure resembling a human with facial features like eyes, a nose, and lips, framed by an outline suggestive of a hood or hair. The use of color blocks in purples, reds, and yellows hint at clothing. Surrounding elements include geometric patterns and a blue border, contributing to the abstract nature of the piece.
Max Weber, Seated Figure, 1919-1920, color woodcut on laid paper, Print Purchase Fund (Rosenwald Collection), 1976.61.4

Seated Figure

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  1976.61.4

The sculpture depicts a miniature model of a building labeled as "COLEMAN'S CAFE." The structure appears to be a small, single-story establishment with a rustic appearance. The building is primarily dark brown and features a weathered look. The roof is slanted, with a textured surface. On the front, there are various vintage-style signs and advertisements, including a red Coca-Cola sign. There are several windows and a front porch area with posts supporting the small overhang. The ground around the building is modeled to appear earthen. The overall visual perspective of the sculpture is from a slightly elevated angle, allowing the viewer to see both the front and side of the building.
William Christenberry, Coleman's Cafe (I), 1982, mixed media, painted wood, and clay soil, Corcoran Collection (Gift of Mr. Robert Lehrman, 1986), 2014.136.293

Coleman's Cafe (I)

William Christenberry · 1982 · mixed media, painted wood, and clay soil ·  Accession ID  2014.136.293

The image depicts a person in a portrait view from the shoulders up. The person has short, dark hair that is textured and combed back. Their facial features include a prominent brow, large eyes, a straight nose, and distinct lips slightly parted. The artistic style is stylized and textured. The person's clothing is not clearly visible, and there are no visible jewelry or objects being held. The background is abstract with soft, muted colors and textured patterns.
Max Weber, Large Primitive Head in Profile, 1920-1921, color linocut on wove paper, Print Purchase Fund (Rosenwald Collection), 1976.61.5

Large Primitive Head in Profile

Max Weber · 1920-1921 · color linocut on wove paper ·  Accession ID  1976.61.5

The image features sharp, angular shapes and bold lines forming an abstract composition. A circular shape with radiating lines is at the center. Below, there are intersecting lines and shapes that can be associated with cattle or oxen. The overall arrangement creates a dynamic scene prompting viewers to find recognizable figures within the abstraction.
Max Pechstein, Evening, 1919, woodcut in black on wove paper, Print Purchase Fund (Rosenwald Collection), 1976.61.1

Evening

Max Pechstein · 1919 · woodcut in black on wove paper ·  Accession ID  1976.61.1

This painting shows a person seated on a stool or chair, wearing a long, dark-blue robe or gown. They are slightly turned toward the right, looking downward at something they hold in their hands, and their head is covered with a cloth or cap. The background is textured with earthy tones, mostly tan with some patches of yellow ochre and gray.
Thomas Eakins, The Chaperone, c. 1908, oil on canvas, Gift of John Wilmerding, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.34.1

The Chaperone

Thomas Eakins · c. 1908 · oil on canvas ·  Accession ID  1991.34.1

The image shows a person in a dark suit and hat standing in front of a vast landscape. A cow grazes in the field while the horizon, hills and a large body of water are visible in the background. The sky appears overcast with subtle tonal variations. The scene is captured in black and white, emphasizing shades of grey, black, and white. The person appears contemplative, set against the serene landscape.
Robert Frank, Platte River, Tennessee, 1961, gelatin silver print, Gift of the Middendorf Gallery, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.51.2

Platte River, Tennessee

Robert Frank · 1961 · gelatin silver print ·  Accession ID  1991.51.2