Provenance

Bernard Danenberg Galleries, Inc.

Explore Selected Works

William Zorach, Puma (looking right), 1948, bronze, Gift of Eric M. Wunsch, 1971.33.2

Puma (looking right)

William Zorach · 1948 · bronze ·  Accession ID  1971.33.2

William Zorach, Puma (looking left), 1948, bronze, Gift of Eric M. Wunsch, 1971.33.1

Puma (looking left)

William Zorach · 1948 · bronze ·  Accession ID  1971.33.1

Guy Pène du Bois, Pierrot Tired, c. 1929, oil on canvas, Corcoran Collection (Museum Purchase through the gifts of William Wilson Corcoran and Ivan C. Aivasovsky), 2015.19.177

Pierrot Tired

Guy Pène du Bois · c. 1929 · oil on canvas ·  Accession ID  2015.19.177

Rust brown, pewter gray, steel blue, and tan geometric forms are piled up in this abstract vertical painting to suggest buildings, train tracks, and metal grates on city streets. The composition is densely packed with shapes, many of them repeating in clusters. For instance, in the center, three rust red, angular shapes resemble escalator steps. Below and to the right, five narrow triangles form an arc. Near the bottom edge, six thinly painted, triangular, kelly-green shapes point almost downward like nested arrows. The green color is strongest along their edges but quickly feathers away as it moves inward. More pointed shapes in denim blue are layered in front of them near the lower right corner, with the points facing our left. The dark tones are broken up by soft honey-gold fields at the sides and near the bottom. A row of narrow gray rectangles spans the lower edge of the canvas like the slats of a pier or a moving walkway. In tiny letters, the artist signed and dated the work near the lower right corner, “MAX WEBER 1915.”
Max Weber, Rush Hour, New York, 1915, oil on canvas, Gift of the Avalon Foundation, 1970.6.1

Rush Hour, New York

Max Weber · 1915 · oil on canvas ·  Accession ID  1970.6.1