Results

Yes, No, Maybe: Artists Working at Crown Point Press
Closed January 5, 2014

Featuring 125 working proofs and edition prints produced between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions.

Orientalism: A Selection of Prints and Drawings
Closed September 23, 2013
This is a drawing of a tiger lying on the ground in a natural landscape. The tiger is shown resting on a terrain with foliage and grass. The background includes a mountain range and a sky with clouds. The tiger's stripes are detailed, and the composition presents a calm yet powerful atmosphere.
In the Library: Marks of Ownership
Closed April 20, 2012
Picasso's Drawings, 1890–1921: Reinventing Tradition
Closed May 6, 2012
Vermeer's "Woman in Blue Reading a Letter" from the Rijksmuseum
Closed December 1, 2015
Bosch to Bloemaert: Early Netherlandish Drawings from the Museum Boijmans Van Beuningen, Rotterdam
Closed January 7, 2018
American Masterworks from the Corcoran, 1815-1940
Closed May 3, 2015
We hover over the bottle-green surface of a river as it rushes toward a horseshoe-shaped waterfall that curves away from us in this horizontal landscape painting. The water is white and frothy right in front of us, where the shelf of the riverbed changes levels near the edge of the falls. Across from us, the water is also white where it falls over the edge. A thin, broken rainbow glints in the mist near the upper left corner of the painting and continues its arc farther down, between the falls. The horizon line is just over halfway up the composition. Plum-purple clouds sweep into the composition at the upper corners against a lavender-colored sky. Tiny trees and a few buildings line the shoreline to the left and right in the deep distance.
From Neoclassicism to Futurism: Italian Prints and Drawings, 1800–1925
Closed February 1, 2015
The image features a person viewed from the back. The individual is standing with one hand on their hip and the other hand hanging by their side, looking towards a village in the distance. The person's face is not visible as it is turned away, with their hair covered by a headscarf tied at the nape. They are wearing a long dress with a fitted bodice, long sleeves, and a cinched waist, along with detailed designs on the bodice and shoulders. The background shows a rural landscape with rolling hills, scattered vegetation, rustic buildings, and a clear sky.
Joan Miró: The Ladder of Escape
Closed August 12, 2012

Through some 120 paintings, drawings, sculptures, and prints from a career spanning almost a century, the exhibition reveals a politically engaged side to Miró's work, including his passionate response to one of the most turbulent periods in European history as well as his sense of Spanish—specifically Catalan—identity.

Two angular, cream-white buildings flanking a central, stylized tree are surrounded by brown soil, small animals, and farmhouse objects like watering cans and buckets beneath a clear, azure-blue sky in this square landscape painting. We look straight onto the buildings and slightly down onto the earth in front of us. About a third of the way up the composition, the horizon is lined with trees and mountains in the deep distance. The long, spindly branches of the central tree nearly reach the top edge of the painting and abstracted, sickle-shaped leaves are silhouetted against the sky so no leaves overlap. The far edge of the whitewashed structure to our left is cropped. The façade is pierced by two small rectangular windows and an arched hatch at the top under a winch. The back end of a horse is visible through an open door at the bottom center. Horizontal bands in front of the building suggest furrows in plowed earth, and a single stalk of corn grows up into the scene, seeming close to us. A pen protected by netting stretches out in front of the second structure, to our right of center. That wood-frame building has a triangular peaked roof, and the left half is open, like a lean-to. A goat, rooster, birds, and several rabbits occupy the pen. Watering cans, buckets and pails, a hoe, newspaper, lizard, and snail are spaced around the buildings. A tiny stylized person, perhaps a baby, appears in the distance between the buildings near a well where a woman works. A covered wagon, a round mill, trees, and plants fill the rest of the space between the buildings. A disk-like moon hangs in the sky to the right of the tree. The artist signed and dated the lower left corner, "Miro. 1921-22."
In the Library: Jost Amman and Sixteenth-Century Woodcut Illustration
Closed January 5, 2018
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