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Lunn Gallery

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The image displays the word "GIMMICK" in bold capital letters embossed onto a creamy white background, creating a three-dimensional effect. The design uses minimalistic lines and shapes reminiscent of print or signboard aesthetics. The contrast between the simplicity of the design and the complexity of the embossing technique adds depth to the visual composition.
Juan Downey, Gimmick, 1970, blind embossed intaglio on wove paper, Corcoran Collection (Gift of Harry Lunn, Jr., 1972), 2015.19.2525

Gimmick

Juan Downey · 1970 · blind embossed intaglio on wove paper ·  Accession ID  2015.19.2525

This is a painting of a data visualization or infographic related to art critics. The image consists of columns filled with text, numbers, and graphical data in red, pink, and yellow colors. The columns contain survey-style questions and answers related to opinions about art historians, artists, critics, and other roles in the art world. Some sections have filled grids, simple geometrical patterns, or check marks indicating answers or data results. At the bottom, the words “7 CRITICS” are displayed, along with names of several individuals below each column, suggesting a comparative study of different critics' perspectives. This is in the style of Edward Ruscha, combining textual elements with visual art.
Juan Downey, Seven Critics, 1970, color etching on wove paper, Corcoran Collection (Gift of Harry Lunn, Jr., 1972), 2015.19.2524

Seven Critics

Juan Downey · 1970 · color etching on wove paper ·  Accession ID  2015.19.2524

The image shows a view from slightly above, showcasing multiple house rooftops. The horizon is not visible, with the focus on the arrangement of buildings against a sky transitioning from light beige to subtle pink. The technique appears to use smooth brushstrokes or shading, creating a clean, flat appearance. The color palette consists of muted earthy tones like grays, whites, browns, and greens. The prominent building is a red-brick house with a white gable and green-and-white-striped awning. Other houses have roofs in shades of grey and sienna, with a chimney on one of them. The scene has a simple and serene feel due to the lack of detailed brushwork.
Kevin MacDonald, Rooftops, 1982, graphite and colored pencil on white wove paper, Gift of Ruth Cole Kainen, 2012.92.775

Rooftops

Kevin MacDonald · 1982 · graphite and colored pencil on white wove paper ·  Accession ID  2012.92.775

The sculpture depicts a black dog in a lying down position. The sculpture is situated on three concrete steps, slightly elevated above ground level, against a backdrop of grass and shrubs. It is life-sized and appears attentive.
William Eggleston, Untitled, 1974, dye imbibition print, Corcoran Collection (Museum Purchase with the aid of funds from the National Endowment for the Arts, the William A. Clark Fund and Margaret M. Hitchcock, 1975), 2015.19.4142

Untitled

William Eggleston · 1974 · dye imbibition print ·  Accession ID  2015.19.4142

The image shows dynamic and curving lines forming irregular shapes with bold and sketch-like strokes. The abstract composition depicts two faces in an expressive manner. The faces are colored with reds, yellows, and blues resembling familiar facial features like wide eyes and lips. The background also incorporates hints of these colors, adding to the scene's vivid and fragmented style.
George McNeil, Surprize #6, 1980, color lithograph on wove paper, Gift of Ruth Cole Kainen, 2005.145.18

Surprize #6

George McNeil · 1980 · color lithograph on wove paper ·  Accession ID  2005.145.18

The image displays precise lines and geometric shapes forming a complex network across the canvas. A figure is centrally positioned, resembling a man seated at a table. The tablecloth is depicted in a checkered pattern, and the figure holds a rectangular object. Two other rectangles could be stacks of paper or books. Background lines and forms suggest a chair and a musical instrument, potentially a piano. In the lower section, an abstract representation of a dog's head is visible amidst fluid shapes and patterns.
Stuart Davis, Man at a Table, 1925, brush and black ink on wove paper, Gift of Ruth Cole Kainen, 2005.145.9

Man at a Table

Stuart Davis · 1925 · brush and black ink on wove paper ·  Accession ID  2005.145.9

The image shows intersecting and angular lines creating an abstract representation of a figure in motion. The shapes outline a human form with dynamic posture, suggesting movement. The limbs are depicted with bold, geometric facets, resembling a robotic or armored appearance. In the background, abstract shapes and lines suggest an energetic environment.
Stanley William Hayter, Runner, 1939, engraving on Japanese paper, Gift of Ruth Cole Kainen, 2012.92.83

Runner

Stanley William Hayter · 1939 · engraving on Japanese paper ·  Accession ID  2012.92.83

The image displays intersecting lines and sweeping curves. The abstract composition is reminiscent of mountainous landscapes with jagged peaks and steep valleys. The overlapping layers and darker shading suggest depth, similar to shadows on rocky terrain. The visual elements convey movement and complexity, like a rugged mountain range.
Ernst Ludwig Kirchner, Mountains (Berge), 1920, etching and tonal etching in black, touched with gray ink, on blotting paper, Ruth and Jacob Kainen Collection, 1990.66.2

Mountains (Berge)

Ernst Ludwig Kirchner · 1920 · etching and tonal etching in black, touched with gray ink, on blotting paper ·  Accession ID  1990.66.2

The image shows a room with vintage decor. In the center is a black and white photograph of a man in formal attire, framed and hung on a patterned wallpaper wall. Additionally, there is an ornate cast-iron stove and a portion of an ornate white metal bed with a decorative headboard. The bed is covered with a neatly made patterned blanket. The room's wallpaper has an intricate repetitive motif.
Walker Evans, Bed and Stove, Truro, Massachusetts, 1931, printed 1971, gelatin silver print, Corcoran Collection (Museum Purchase with the aid of funds from the National Endowment for the Arts, the William A. Clark Fund and Margaret M. Hitchcock, 1975), 2016.22.43

Bed and Stove, Truro, Massachusetts

Walker Evans · 1931, printed 1971 · gelatin silver print ·  Accession ID  2016.22.43

The image depicts a design of rectangular and square shapes intersected by straight and vertical lines, forming a grid-like pattern. The shapes are filled with alternating colors, resembling stained glass windows or mosaic tiles. The composition evokes a well-organized garden or a city map filled with buildings. The left side of the image is largely blank, highlighting the complexity of the abstract structure on the right.
Frank Lloyd Wright, Cover Design for the Lecture Notes of "The Problems of Modern Architecture", 1927-1930, colored pencil on wove paper, Corcoran Collection (Gift of Mr. and Mrs. Abdul Huda Farouki, 1984), 2014.136.218

Cover Design for the Lecture Notes of "The Problems of Modern Architecture"

Frank Lloyd Wright · 1927-1930 · colored pencil on wove paper ·  Accession ID  2014.136.218