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Modern Drawings from the Armand Hammer Collection
Closed May 21, 1989
The image shows a pencil sketch featuring the upper bodies of two people, a woman and a child. The woman is seated, slightly turned towards the left, with her head slightly bowed, as she appears to be focused on the child beside her. Her facial features are softly drawn, with closed eyes, and her hair is styled in an updo. She is wearing a long-sleeved garment, and her hands are gently resting near the child’s shoulder. The child is in a relaxed position, leaning affectionately against the woman. The child has medium-length hair with bangs and is looking forward with eyes open. They are wearing a garment with a modest collar. The sketch is simplistic and focuses on the interaction and proximity of the two figures, capturing an intimate moment. The background is plain with minimal detailing, placing emphasis on the figures themselves. A few light sketched lines are present, and there are small markings, including illegible writing, near the top of the image, as well as the initials "m.e" at the bottom.
Italian Etchers of the Renaissance and Baroque
Closed November 26, 1989
The etching depicts a central reclining figure with a group of standing and seated individuals surrounding them. The figures have intricate facial features, flowing hair, and are dressed in loose garments. The background features dense, cross-hatched lines while the foreground shows detailed foliage with large leaves.
Mary Cassatt
Closed August 27, 1989
This print shows two women sitting together. The woman in the front is seated, holding a banjo, with her body turned to us and her face looking to the right. The neck of the banjo points to the right. The woman in front has dark hair styled neatly behind her head, dark eyebrows, long eyelashes, and lips set in a neutral expression. She is wearing a long-sleeved dress with puffy teal sleeves, a white and light blue striped bodice, and a light blue skirt with pink polka dots, with a yellow scarf around her neck. Her arms are positioned around the banjo. The second woman sits behind her, her hands on the banjo player's shoulders, watching her play. This woman has lighter colored hair with short bangs, and wears a light pink dress. She appears younger than the other woman. Both of them have pale yellow skin. The background is plain beige paper.
Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building
Closed December 31, 1990
Tall trunks and the canopies trees sweep to our left in a stiff wind in this horizontal landscape painting. The bottom half of the canvas is packed solid with leafy trees. Several spindly trunks shoot high above the canopy against a sky mottled with a sheet of pale gray clouds. The artist signed and dated the painting in the lower left corner, “F. VALLOTTON. 10.”
Raphaelle Peale Still Lifes
Closed January 29, 1989
A shallow bowl filled with oranges, grapes, and nuts is surrounded by a short, flaring glass, a glass decanter, a lemon, and more nuts arranged along a wooden tabletop in this horizontal still life painting. The objects nearly fill the composition, and the table extends off both sides. The three oranges are pale, with the one at the center nearly yellow, and a stem of dark green leaves lies across the top. A bunch of shriveled grapes, like raisins still on the vine, lies across the almonds and other nuts, all in their shells, in the bowl. The outside of the bowl is white, and it has a gently scalloped rim. A lemon sits to our left of the bowl of fruit, and behind it, the glass decanter has a teardrop-shaped glass stopper. Light coming from the front and our left makes the peachy liquid glow. To our right are four whole walnuts in their shells, with a few grapes hanging from the bowl. Behind the walnuts, a long stemmed, flaring, clear glass is almost filled with the peach-colored liquid. The background is deeply shadowed at the upper left, lightening slightly to elephant gray toward the lower right. The artist inscribed the painting as if he had written his name, date, and location on the front edge of the table, near the lower right corner: “Raphaelle Peale Aug: 5th 1814 Philad:”
Nineteenth-Century Drawings from the Armand Hammer Collection
Closed May 1, 1989
The image features two figures from the waist up, depicted in expressive sketches. The person on the left is leaning back, looking at the other figure. They have a bun hairstyle and wear a long-sleeved dress. The figure on the right has their back partially facing the viewer, also looking towards the left. They have their hair tied back and wear a dress with billowing sleeves. The background is a textured surface.
English Drawings and Watercolors, 1630-1850
Closed March 13, 1988
The image depicts a landscape with a broad expanse. The horizon is low in the composition above buildings and ship masts on the distant shore. The sky occupies most of the upper portion of the painting. Buildings with red-tile roofs and whitewashed walls line the shore, with ships' masts rising above them. The brushstrokes indicate a watercolor technique, giving a soft texture to the scene. The color palette is earthy with browns, greens, and grays. Cattle are resting on dark sand or soil in the foreground. Hills are visible in the distance with buildings reflecting in the water.
George Inness
Closed September 7, 1986
The painting depicts a view overlooking a valley with a river in the distance. The almost-cloudless sky is painted in shades of light blue with faint pink near the horizon. Closest to us there is a hill, and below it the distant landscape appears to be a hazy mix of light blue, pale pink, yellow, and green, with the pale river winding through it. On the hill to the right are large green trees and fields in earthy green and brown tones. There are two small people walking through the fields on the right, one of whom appears to be on horseback. That person appears to wear a red dress with a white shawl, while a person walking behind the horse wears darker colors.
The New Painting
Closed April 6, 1986
Painted entirely with small dots of pure color mostly in slate and azure blue, olive green, and cream white, this scene shows a sandy beach stretching to a lighthouse at the center and a four-story building to our right in this horizontal seascape. The tall, slender lighthouse standing on the water’s edge a short distance from us is painted with specks of azure and sky blue, ivory, and peach. In the distance to our left, a pier stretches into the sea along the horizon, which comes about two-thirds of the way up this composition. A sailboat floats just off the pier, near the left edge of the painting. To our right of the lighthouse and extending off the right edge of the canvas, the building has three levels of windows and a row of dormers along the tall, peaked roof. The building is painted with touches of dove gray, sapphire blue, and pale pink. In front of the building and to our right, a denim-blue shed has a tangerine-orange roof. A wooden rowboat outlined in cornflower blue with flecks of dandelion yellow rests on the sand next to the shed. In front of us, dots of moss green blend into the blond tones of the sand, creating an impression of grass on the beach. Sunlight shimmers on the sea to our left, which is painted with short dashes of mint and seafoam green, baby blue, cream, and shell pink, beneath a clear, ice-blue sky.
Goya
Closed January 4, 1987
A young girl with pale skin, rosy cheeks, and blond hair stands facing us in front of a landscape with forests and mountains in this vertical portrait painting. The girl looks at us with wide, gray eyes under delicately arched eyebrows. She has a short, rounded nose, and her full, pink lips are parted. Her smooth, rounded cheeks are flushed. She wears a lace-trimmed, sky-blue, scoop-necked bodice that comes to a V at her waist, a full, ankle-length black skirt, and a white bonnet with a royal-blue ribbon, which has a pink rose at the bow. Her long, white, lacy veil, called a mantilla, drapes over the hat, over her shoulders, and to her waist. One end of the mantilla drapes over her left wrist, to our right. The other end is pinned under the back of her other hand, which rests against that hip. One cobalt-blue, pointed shoe with a silver buckle peeks out under her skirt. A small, shaggy, white-haired dog sits at her feet to our right. A low, gray stone wall behind the girl and dog angles away from us to the left. Some plants with dark green leaves grow in front of the wall to our left. Beyond the wall, pine-green, treed foothills rise to meet rocky, nickel-gray mountains under a ice-blue sky with pale, petal-pink clouds kicking up over the mountains. An inscription in all capital letters is painted in black in the lower left corner: “LA S.D. MARIA TERESA HIXA DEL SER. INFANTE D. LUIS DE EDAD DE DOS ANOS Y NUEVE MESES.” A crimson-red letter “B.” is painted to the left nearby. In the lower right corner, the number “15.” is painted in white and the number “5.” is painted in red.
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