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The Prints of Félix Buhot
Closed February 20, 2006
The image shows a landscape with a path leading to a body of water. Vegetation lines the path, and there are small human-made structures and boats in the distance. The sky is filled with detailed clouds, adding movement to the scene. The color scheme is brown and sepia tones.
Italian Drawings from the Armand Hammer Collection
Closed May 8, 2005
Drawn with brown ink and shaded with tan washes on cream-white paper, two bearded men wearing robes, with a smaller, nude, winged boy between them, fill this vertical drawing. At the center top of the paper, the angel faces us, gazing down to our left with open mouth and eyebrows drawn together. He has curly hair and lifts his muscular right arm, on our left, with his index finger pointed upward. Crosshatched lines define his body, and quick, curved lines shade his outstretched wings. To our right, one man stands with his body facing the center of the sheet but he turns his head to look up off the top right corner. He has curling hair, a wide mustache, and perhaps a goatee, though his chin is partially hidden by a dark spot on the paper. He has broad shoulders, a thick neck, large hands, and a hint of a muscular leg under his flowing, voluminous robes. He holds a flat, oblong object, possibly a stone tablet, perched on his slightly bent left knee. Seated to our left, the other man faces and looks at us. He also grasps a flat, tablet-like object but holds it up, braced on his right thigh, to our left, and points to it with his other hand. This man also is solidly built and swathed in robes, with a hood over his curly hair. He leans forward, knees apart, and stares out with his brows deeply furrowed. His downturned mouth is set in a bushy, curly beard. Near the bottom of the picture, the bare feet of the two men emerge from the folds of their robes. Touches of white washes on the folds of the robes create a sense of light coming from above and to our right, and charcoal lines reinforce the shadows. A grid is lightly drawn in red chalk lines over the composition. A black stamp in the lower left has the letters “E.C” and another at the center reads, “H de T. STAT.”
Mark Rothko's Mural Commissions
Closed May 31, 2004
Deceptions and Illusions
Closed March 2, 2003
Two pieces of paper money, two coins, and a small black and white photograph of a bearded man seem to be affixed to a dark surface surrounded by a wide wooden frame, to which several stamps have been affixed in the lower left corner. A dollar bill with frayed edges is stuck to the black background across the center, and the lower left corner lifts up. The dollar bill has a portrait of George Washington in an oval at the center with “UNITED STATES” above. The serial number “Z143091888” appears in red to the left and is repeated in the upper right corner, and “ONE DOLLAR WASHINGTON DC” is printed in black to the right. Overlapping the top left of the dollar bill, another bill about half the size is printed with a portrait of a cleanshaven, light-skinned man in a high-necked coat and frilled collar, angled to our right but looking at us over a long, hooked nose and wide lips. To our right, the bill reads, “UNITED STATES FRACTIONAL CURRENCY,” and, below a seal, “FIFTY CENTS.” Above the dollar bill, a worn, copper-colored coin is held to the panel by three small prongs. The coin has the head of a person facing our left in profile. An inscription around the edge reads, “AUCTORI CONNEC.” A small photograph showing the head and shoulders of a bearded, balding man wearing glasses and a dark suit seems to have been tucked into the lower left corner between the dark background and the wood frame. Slightly behind the photograph, a silver coin resting on the ledge of the frame has a six-pointed star with a striped crest at the center, and is inscribed around the edge, “UNITED STATES OF AMERICA 1853.” Above the photograph is a dark circular stamp stuck with a pin. Attached to the bottom left corner of the wood frame are several different colored, cancelled stamps, some of them torn. In the bottom center, a piece of paper with the typed words “J. Haberle” seems to have been pasted onto the frame. The painting is inscribed in the upper right with red against the black field: “J. HABERLE NEW HAVEN, CT. 1887.” Upon closer inspection, we notice the edge of the wood frame is actually rough canvas. There also does not seem to be a gap between the painted picture and the wood frame. We eventually realize that all of it—the money, photograph, stamps, and frame—are all painted to create an illusion.
American Naive Paintings from the Edgar William and Bernice Chrysler Garbisch Collection
Closed February 10, 2002
The painting features a scene showing men in a boat landing on a shore. The horizon is low, with larger sailing ships seen in the distance on the right, floating on the dark green water. The central boat has around eight men in it, all with tan skin and dark hair, dressed in bright garments in shades of red, blue, and gold. Many of them wear plumed helmets and have jewelry or badges adorning them. The boat is heading towards land on the left, and one man stands at the front of the boat, holding a white flag. The land on the left is green, with tall palm trees and a rocky gray mountain. People with dark skin can be seen in on the land in the distance, some climbing the mountain and others standing beneath trees. The sky is a gradient from pinkish-orange near the horizon to light blue at the top of the painting, with a few faint gray clouds.
Virtue and Beauty
Closed January 6, 2002
This square portrait shows the head and shoulders of a young woman in front of a spiky bush that fills much of the background except for a landscape view that extends into the deep distance to our right. The woman's body is angled to our right but her face turns to us. She has chalk-white, smooth skin with heavily lidded, light brown eyes, and her pale pink lips are closed. Pale blush highlights her cheeks, and she looks either at us or very slightly away from our eyes. Her brown hair is parted down the middle and pulled back, but tight, lively curls frame her face. Her hair turns gold where the light shines on it. She wears a brown dress, trimmed along the square neckline with gold. The front of the bodice is tied with a blue ribbon, and the lacing holes are also edged with gold. A sheer white veil covers her chest and is pinned at the center with a small gold ball. The bush fills the space around her head with copper-brown, spiky leaves. A river winds between trees and rolling hills in the distance to our right. Trees and a town along the horizon, which comes about halfway up the painting, is pale blue under an ice-blue sky.
Max Weber's Modern Vision
Closed April 2, 2000
This painting shows intersecting angular shapes and curved lines, creating a complex pattern. The abstract artwork resembles a cityscape or an industrial scene, with overlapping forms suggesting tall buildings, spires, and arches. There are two tall towers made of overlapping geometric shapes on either side of the painting, with black paint filling the space from them until the edge of the canvas. Most of these shapes are a silver-blue color, while those in the center of the image are rusty red and light orange. The center generally has larger, wider shapes, although there is one group of small, tightly clustered gray shapes in the upper center.
Prints and Drawings from the Permanent Collection
Closed October 15, 2000
The drawing shows a reclining figure on a flat surface, positioned on their side with a slightly arched back, head leaned back, and facing upwards. The figure has a outlined face with closed mouth and defined chin, and loose hair. The body is unclothed, with attention to form and shading. The background is simple and sketched lightly. There are no visible accessories. The artwork is on textured paper, using charcoal or graphite for shading and white highlights for depth.
The Impressionists at Argenteuil
Closed August 20, 2000
A sun-dappled dirt road runs away from us, parallel to a shimmering body of water under a blue sky dotted with white clouds in this horizontal landscape painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. The road moves back in space from the lower right corner of the canvas. It is lined with tall thin trees with narrow, dark green canopies to our right and with marshy grasses to our left. The road ends or curves in front of a row of terracotta-orange and gray buildings and smokestacks along the horizon, which comes about a third of the way up this composition. Two women and a child stand and sit in the shadows at the base of the trees to our right. Two sailboats drift on the glassy surface of the water. A row of celery-green trees on the horizon to our left and the sails of the boats reflect in the water. The artist signed the lower right corner, “Claude Monet.”
Faces and Figures
Closed November 7, 1999
Five sketches in brown ink are spaced around a vertically oriented sheet of paper. In the top left quadrant, a bearded man faces our right in profile. He has short, curly hair, a deeply lined face, a pronounced underbite, and the tip of his long nose points down. Two independent, wrinkle-lined eyes are sketched in the top right quadrant of the page. Below are two drawings of women with their shoulders angled away from us to the right. Near the bottom left and smaller in scale, a woman looks over her shoulder at us with a slight smile on her lips. In the bottom right quadrant, a woman with her hair pulled back under a snood looks to our right in profile with her chin tipped up. The neckline of both women’s bodices dip across the shoulder blades in the back. The paper is speckled with faint brown stains and spots.
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