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Modern Sculpture
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Pablo Picasso, Spanish, 1881 - 1973, Head of a Woman (Fernande), model 1909, cast before 1932, bronze, Patrons' Permanent Fund and Gift of Mitchell P. Rales © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York 2002.1.1

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Raymond Duchamp-Villon, French, 1876 - 1918, Torso of a Young Man, 1910, bronze, Ailsa Mellon Bruce Fund 1971.66.12

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Amedeo Modigliani, Italian, 1884 - 1920, Head of a Woman, 1910/1911, limestone, Chester Dale Collection 1963.10.241

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Wilhelm Lehmbruck, German, 1881 - 1919, Seated Youth, 1917, composite tinted plaster, Andrew W. Mellon Fund 1974.49.1

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The top half of this modern, abstract sculpture is made up of a vertical, elongated form that swells gently at the center and tapers to a point at either end, like the point of an elephant’s tusk. Near the bottom point, the form flares out slightly to make a tall, conical foot. The marble section sits atop a base made of three stacked pieces that together are about the same height as the swelling form. First is a short cylinder that sits on the center of a piece that would look like a plus sign if viewed from above. Both the cylinder and plus-sign are carved from cream-colored marble, so are a little darker than the whiter, swelling form above. The largest, tallest piece is the dark brown wooden base below, which is carved in the shape of an angular hourglass.

Constantin Brancusi, Romanian, 1876 - 1957, Bird in Space, 1925, marble, stone, and wood, Gift of Eugene and Agnes E. Meyer © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris 1967.13.3

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This sculpture is made up of ten shapes connected with rigid, straight brown wire to create an interlocking, web-like formation that rests on the floor. Five of the shapes appear to be raw wood and the other five are painted. Four of the painted shapes are dark gray. The fifth painted piece, at the upper left in this photograph, has a wooden cone-shaped tip pointing downwards beneath a black and white mid-section and an angular, hourglass shaped tail painted in triangular blocks of red, blue, and black. The other wooden and painted shapes range in size and form, with an almond-shaped piece at the center, rounded pieces throughout, and two rounded hour-glass shaped pieces near the upper left.

Alexander Calder, American, 1898 - 1976, Vertical Constellation with Bomb, 1943, painted steel wire, painted wood, and wood, Gift of Mr. and Mrs. Klaus G. Perls © 2000 Estate of Alexander Calder / Artists Rights Society (ARS), New York 1996.120.8

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Louise Bourgeois, American, born France, 1911 - 2010, Spring, 1949, painted balsa, Gift of the Collectors Committee 1992.102.3

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Alberto Giacometti, Swiss, 1901 - 1966, The Chariot, 1950, bronze, Gift of Enid A. Haupt © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris 1977.47.2

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Related works: Circle I  and Circle II.

David Smith, American, 1906 - 1965, Circle III, 1962, painted steel, Ailsa Mellon Bruce Fund 1977.60.3

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Anne Truitt, American, 1921 - 2004, Knight's Heritage, 1963, acrylic on wood, Gift of the Collectors Committee 2011.19.1

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A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

Eva Hesse, American, born Germany, 1936 - 1970, Test Piece for "Contingent", 1969, latex over cheesecloth, Gift of the Collectors Committee 1996.116.1

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This large white plaster cube is seen as if we stand near the front left corner, so the cube angles back and away from us to the right. The cube seems to be made of blocks that fit together so the seams are visible. The side to our left is smooth. A short, tongue-like projection at the bottom center of the face closer to us is surrounded by an inverted, squared off U arching over it. Though not obvious in this photograph, the artist created this work by filling an empty room with plaster. The tongue-like shape is the inside of a fireplace, and is lightly blackened where it lined the interior. The inset paneling around it would have been the mantlepiece, and inset bands along the floor and top of the cube would have been the baseboards and crown molding. In this photograph, the sculpture nearly spans the distance from a stone floor to the ceiling. Opposite us, trees and a building are seen through a wall of windows behind the cube.

Rachel Whiteread, British, born 1963, Ghost, 1990, plaster on steel frame, Gift of The Glenstone Foundation 2004.121.1

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This horizontal photograph shows the twisting branches of a shiny silver tree, the sculpture rising high above the treetops of the living trees behind it. The trunk breaks into two sets of branches about a fifth of the way up the height of the sculpture. The branches to our left in this photograph curve and wind up and out while the branches to our right flare up in straighter lines. Diffused sunlight on the overcast day glints off the metal, creating bright white highlights against steel-gray shadows. The sculpture appears to be planted on a patch of grass with bushes and trees spanning the width of the photograph behind.

Roxy Paine, American, born 1966, Graft, 2008-2009, stainless steel and concrete, Gift of Victoria and Roger Sant 2009.109.1

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