Provenance

Aaron I. Fleischman

Private Collection, Washington, DC (CD)

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The image features an abstract composition of curved and angular shapes. The shapes suggest smooth, rounded shells or fish bodies. The largest shape is blue with swirling patterns and hints of red, white, and black. Below it, another shape with similar coloring but more elongated forms resembles a shell or coral fragment. Overlapping lines and color gradients create a sense of depth and movement within the composition.
John Ferren, Sea Forms, 1937, color woodcut and wood engraving on wove paper, The Aaron I. Fleischman Fund, 1992.72.1

Sea Forms

John Ferren · 1937 · color woodcut and wood engraving on wove paper ·  Accession ID  1992.72.1

Robert Morris, Blind Time IV (Drawing with Davidson), 1991, black iron oxide with plate oil and graphite inscription on wove paper, Gift of Patricia Alper Cohn and David I. Cohn, Werner H. and Sarah-Ann Kramarsky, Aaron I. Fleischman, Suzanne Cohen, and the Collectors Committee, 2005.132.1

Blind Time IV (Drawing with Davidson)

Robert Morris · 1991 · black iron oxide with plate oil and graphite inscription on wove paper ·  Accession ID  2005.132.1

The image is a composition of rectangles and squares arranged in a grid-like pattern, filled with various abstract shapes and figures. The abstract imagery suggests forms resembling faces and elongated fish-like shapes, with a set of vertical lines resembling fingers or a hand. The arrangement and interplay of shapes give the appearance of a mosaic filled with symbolic references or hieroglyphs.
Adolph Gottlieb, Pictograph, 1942, oil on canvas, Gift of Aaron I. Fleischman, 2002.101.1

Pictograph

Adolph Gottlieb · 1942 · oil on canvas ·  Accession ID  2002.101.1

Charles Sheeler, Interior with Stove, 1932, conté crayon on wove paper, Gift (Partial and Promised) of Aaron I. Fleischman, 2000.181.1

Interior with Stove

Charles Sheeler · 1932 · conté crayon on wove paper ·  Accession ID  2000.181.1

The image displays a mix of angular and curving lines intersecting across the canvas to create vertical and diagonal shapes. It features a variety of colors, including red-orange, green, brown, gray, and blue. The composition may evoke tree trunks or a cliff edge, but its abstract nature encourages viewers to interpret the interplay of color and shape.
Jack Tworkov, Sea Play, 1958, oil on canvas, Gift of Aaron I. Fleischman, 1997.113.1

Sea Play

Jack Tworkov · 1958 · oil on canvas ·  Accession ID  1997.113.1

Robert Delaunay, Saint-Séverin, 1923-1925, lithograph in black and sepia on wove paper, Gift of Aaron I. Fleischman, 2014.122.1

Saint-Séverin

Robert Delaunay · 1923-1925 · lithograph in black and sepia on wove paper ·  Accession ID  2014.122.1

The image shows an abstract composition of geometric shapes and lines in various colors overlapping on a blue background. There are rectangles, angles, and thick black lines intersecting within the artwork. There is a suggestion of a circular loop at the end of one black line. The arrangement of shapes creates a sense of movement within the piece.
Ilya Bolotowsky, Cobalt Green, 1939, oil on canvas, Gift (Partial and Promised) of Aaron I. Fleischman in memory of his mother, Esther W. Fleischman, 1991.191.1

Cobalt Green

Ilya Bolotowsky · 1939 · oil on canvas ·  Accession ID  1991.191.1

There is a vertically positioned stalk of Brussels sprouts with large green leaves and a fabric wrapping around the base. The background is monochromatic green. The color palette varies in shades of green. The stalk is centrally positioned with leaves extending outward. The composition appears symmetric with two large leaves angled left in the foreground.
Sharon Lockhart, NÕ-no Ikebana, arranged by Haruko Takeichi, December 1, 2002 (December 2-3), 2003, chromogenic print, Gift of Aaron I. Fleischman, 2008.120.1.3

NÕ-no Ikebana, arranged by Haruko Takeichi, December 1, 2002 (December 2-3)

Sharon Lockhart · 2003 · chromogenic print ·  Accession ID  2008.120.1.3

A canvas painted pale pink, straw yellow, and cobalt blue is stretched over a support shaped like a letter V with rippling sides in this abstract composition. A wobbly ring of yellow across the top suggests an opening. A red line or tube curves from the right rim to the top, and then into the vessel. The other end of the red tube coils in a tight curl and is visible through a square opening at the middle of the painting. A yellow rectangle is to the left and a yellow square to the right of the opening. Both are outlined in blue, and a blue-zigzagging line slices down the length of the painting. A hollow-centered yellow circle, also outlined in blue, is at the bottom center. After closer inspection, we find that the blue zigzagging line appears to be a cut separating the two halves that fit together like puzzle pieces.
Elizabeth Murray, Careless Love, 1995-1996, oil on canvas over shaped wooden support, The Aaron I. Fleischman Fund, 1996.28.1

Careless Love

Elizabeth Murray · 1995-1996 · oil on canvas over shaped wooden support ·  Accession ID  1996.28.1

The image features intersecting lines and geometric shapes forming an abstract composition. In the center, a teardrop shape outlined in blue connects to the top corners with lines extending from its peak. Above the teardrop, a small circle sits at the top. Below, two elongated triangular shapes extend downwards. The composition is set against a background of contrasting white and brown.
Robert Motherwell, Personnage, 1945, oil on canvas board, Gift of Aaron I. Fleischman, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.44.1

Personnage

Robert Motherwell · 1945 · oil on canvas board ·  Accession ID  1991.44.1