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The Art of Paolo Veronese, 1528-1588
Closed February 20, 1989
A man stabs a woman, Saint Lucy, in the chest while another man, a priest, holds a gold cup and offers her a small white wafer in this horizontal painting. Two man flank the priest, and the group is in front of a town square. Saint Lucy has pale skin and the men have tanned skin. In the center, Saint Lucy faces us and kneels with her body angled to our right. She turns her head away from us and toward the communion wafer with hermouth slightly open. Her copper-red hair is pulled back under a golden-brown cloth, which falls over her shoulders. The bodice of her thistle-purple gown has been pulled down, and blood trickles from the dagger held there. Her long sleeves are lined at the cuffs with white ruffles, and her skirt puddles on the ground. The gown has a sheen, suggesting satin or silk. She holds one hand down by her side, palm facing us, and holds up the gold cloth by her chest with the other. The man with the dagger is to our left. He hunches over Saint Lucy, stepping onto his front foot from behind her shoulder. He has dark hair, and his face is in shadow. His white shirt and butterscotch-yellow clothing expose the muscular shoulder of the stabbing arm. His pants end at the shin, and his feet are bare. To our right, the priest is balding with a white beard. His face is lined as he looks down at Saint Lucy, his head tipped toward us. He wears a white robe with a gold stole. A man wearing celestial blue and holding a thick candle kneels facing away from us between us and the priest. Another man wearing red and plum purple looks at Saint Lucy from under dark, lowered brows on the far side of the priest. Across from this group, a sixth person edges into the scene from our left, so only their profile, a shoulder, and a hand are visible. Deep in shadows, they seem to look into the town square. That space is lined with tall stone buildings to our right and an arch on the far side. A few people and oxen gather around a woman wearing pink, who stands on a platform in the square. Two more people sit atop a platform above the woman, flanking an upward shooting pink stream, like a wide ribbon. Thin white and gray clouds veil the shadowy, marine-blue sky in the upper left quadrant.
The Pastoral Landscape
Closed January 22, 1989
This horizontal landscape is painted with dots and dashes in fresh green, shimmering blue, amethyst purple, shell pink, pale yellow, and cream white against the brown wood of the panel, which is visible throughout. Though loosely painted, a scene with a grassy area hemmed to our left and along the back with a body of water comes into focus. A person sits near the bank to our left. Daubs in violet could be more people walking in the near distance among trees. An arc of white suggests a sailboat near the shoreline off to our left. The artist signed the painting in red in the lower left, “Seurat.”
The Art of Paul Gauguin
Closed July 31, 1988
Four young women with olive-green-colored skin shaded with cool blue stand or sit in a vividly colored landscape surrounded by trees in this horizontal painting. A slender, spruce-blue tree divides the picture just to our left of center. The ground around the tree spans the width of the composition and is carpeted in coral orange, carnation pink, and lavender purple with a handful of emerald-green saplings and tufts of grass. A pair of young women are to each side of the central tree, and a body of water extends across the composition just beyond this bit of land. To our left, the two women’s bodies face away, and they look back over their left shoulders at us. The girl on the left has black hair and wears a honey-orange and pale blue fabric wrapped around her waist. The girl next to her has copper-red hair with a pink cloth wrapped around her chest. They stand by or in the water so are shown from the knees up. The water there is made up of swirling pools of flame red and golden yellow bordered by lilac purple and peacock blue. On the other side of the tree, a young woman with white flowers in her brown hair sits on the ground, also with her back to us. The fourth faces us along the right edge of the canvas. She has black hair and stands next to and touches a thicker tree trunk with one hand. These two women are nude. The water beyond them is painted with patches of rose pink, lemon yellow, and ice blue. Areas mottled with teal, honeydew, and bottle green suggest shrubs and trees lining the far side of the water. Closer inspection reveals two ghostly, pale blue dogs lying on the ground near the lower right corner. The artist signed and dated in lower right, “P Gauguin 97.”
Drawings on Stone
Closed September 4, 1988
The image shows two men in a fighting stance in a side view. Both men are positioned with their fists up, leaning slightly backward. On the left is a shirtless man with dark skin, short hair, and light-colored trousers. On the right is a shirtless man with light skin, dark hair, and striped trousers. A crowd surrounds the fighters, some seated and some standing. The background is a shaded sketch of outdoor terrain under a cloudy sky. An object resembling a jug is next to them.
Georgia O'Keeffe 1887-1986
Closed February 21, 1988
The curling, flaring petal of a jack-in-the-pulpit blossom wrapping around a vertical, elongated core nearly fills this vertical painting. The flower rises from a narrow base and is veined with white against dark, maroon red. It unfurls to reveal the deep maroon stamen within. Spring-green leaves span the lower edge of the composition, beneath the flower, and billow around the blossom, across the top of the painting. A soft blue and white background recalls clouds in a bright sky.
A Century of Modern Sculpture
Closed February 15, 1988
This free-standing marble sculpture shows a man’s abstracted head and shoulders carved in angular planes. The top third of the piece is a smooth head, perhaps bald, with a curling, pointed oval shape coming down the middle of his forehead. The middle third is the elongated, rectangular face. Closed eyes are suggested by thin ridges carved in deep recesses on either side of a long nose, which is shaped by flat planes. The mouth is delineated by a thick, downturned, upper lip, and a narrow goatee hangs from the pointed chin. The bottom third is the shoulders, suggested by a downward-facing arch carved on the side we can see. The surface is rough and unpolished with a few streaks of gray in the sand-colored marble. This photograph shows the sculpture angled to our right against a pale gray background.
Berthe Morisot--Impressionist
Closed November 29, 1987
Shown from the lap up, two women with pale skin and dark hair pulled up and back, wearing white dresses with baby-blue polka dots, sit on a couch in this horizontal portrait painting. Both women have straight, dark brows, delicate noses, smooth skin, and their small, rose-pink mouths are closed. Wispy bangs brush their foreheads, and their hair is piled high with long ringlets falling down their backs. Both wear black ribbons like chokers around their necks. Their dresses have high necks with ruffles along the necklines, ruffles at the wrists, and are gathered under the bust. They sit angled in toward each other. The woman on our left has black hair, and she looks down and to our right with dark eyes. She wears a gold ring with a dark, oval stone on one hand resting in her lap. The other woman has chestnut-brown hair and looks down and off to our left with ice-blue eyes. She holds an open fan in her hands in her lap. The fabric on the couch has vertical white and lilac-purple stripes, and is overlaid with a pattern of pink flowers and green leaves. A framed picture hanging on the bone-white wall behind the women shows an arched painting against a sky-blue background. A few spiky leaves from a houseplant are cut off by the left edge of the painting. The portrait is loosely painted throughout, especially in the couch and background. The artist signed the painting in the upper right corner, “Berthe Morisot.”
William Merritt Chase: Summers at Shinnecock 1891-1902
Closed November 29, 1987
Two pale-skinned women sit facing each other on a long sofa centered on the wall across from us in a room warmly lit from the right in this horizontal painting. The scene is loosely painted so some details are indistinct. The woman on our left wears a white, full-length dress belted at the waist and trimmed with a ruffled hem. The puffy sleeves narrow below the elbow and are tucked into long, fawn-brown gloves. She wears a brimmed hat topped with dabs of white and lapis-blue paint, presumably flowers, with a sheer veil covering her face and chin. Glints of gold at her wrists might be bracelets. Her lower body faces us but her head and torso turn to her left, our right, to face her companion. She leans forward, with her left hand slightly extended, and she rests her fingertips on the cushion between them. Her other hand, closest to us, holds the curving handle of a closed, shell-pink parasol trimmed with white. To our right, the second woman sits with her knees angled to our left as she turns her head in profile, looking at her companion. She wears a floor-length, butter-yellow dress with white, vertical stripes. The dress has a high black collar, and a black ribbon wraps around her waist and falls down the front of the dress. Her sleeves billow at the shoulder and narrow below the elbow. Her dark brown hair is gathered at the top of her head. She holds a flat object in the same butter yellow in her lap that may be a matching hat. The sofa spans almost the entire width of the center of the painting. Its seat is draped in spruce-green fabric, and emerald-green, mauve, rose-pink, black, and gold throw pillows are scattered along its length. The lower half of the wall behind the women is tawny brown while the upper half is divided into four sections. A coral-red and off-white wall hanging fills the wall to our left of the woman in white. A framed artwork and mustard-yellow fabric with daubs of white, ash gray, and black hang on it. Moving right, a column of three framed artworks hang on the wall between the women. Next is a large mirror with a gold frame that hangs behind the woman in yellow. At the far right is another column of three framed artworks. The room behind us is reflected in the large mirror, showing an amber-colored wall with large windows and more framed artworks. Steps leading up to another sunlit room are also visible. A wicker chair with a pink and white pillow sits in the lower right, facing the women at an angle. The floor in front of them fills the lower third of the composition and is covered with a vanilla-yellow carpet streaked with areas of smoke gray and brick red. Two small throw pillows with tassels lie at the feet of the woman in white. The tip of the parasol points to a small sage-green pillow with tomato-red tassels lying on the floor between the women. To our left of the woman in white is a cream-white pillow with marigold-orange tassels. The artist signed and dated the painting in the lower left, “Wm. M. Chase. Copyright 1895.”
Winslow Homer Watercolors
Closed May 11, 1986
This painting shows a landscape with a village seen from above. The view includes red rooftops and a white church with dome-shaped structures. In the background, there are distant mountains in shades of purple, blue, and red. There are dark green trees on the left, in front of what looks like a pale body of water. Closest to us is a strip of green that suggests a hilltop. The sky above is cloudy, with shades of gray and cream. The brushstrokes in the painting are thick and fluid.
Drawings by Jacques de Gheyn
Closed May 11, 1986
The image shows a landscape with a detailed tree in the center, hills, and distant trees in the background. The brush strokes give texture to the scene. The color scheme is primarily sepia. Near the bottom left, there is a bush and a round object. The landscape extends towards the horizon, where more trees are visible against the sky.
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