Browse Items (1266 total)

This enigmatic watercolor is organized around the small figurine at left, perhaps a mythical Japanese fox-spirit called kitsune. Their intelligence and shape-shifting ability renders them an ambiguous omen: perhaps as shapeshifting tricksters,…

At upper left are the flowers of this still life’s putative title, but it still doesn’t account for the majority of Preachen’s composition. Their bright orange petals activate several objects in a similar tone (fruit, a piece of fabric, a painted…

Groups of like flowers, often in threes, are gathered into a roughly symmetrical bouquet along its vertical axis. The planter has no visible pattern; the wallpaper behind is defined via colors instead of pattern. Judging from highlights upon the…

This composition occupies a sort of uncanny valley in painting: its vase and flowers use one regime of three-dimensionality; its plant stand uses a different regime, or perhaps the same from a different vantage point. No viewing point can make those…

This vividly colorful painting has a lot going on. As with Preachen’s “Still Life on a Balcony,” space is radically discontinuous here: flowers, table covering, fields, and sky each occupy their own flat plane; the dark brown stoneware pitcher…

Bayard has painted a still life of a blue vase of flowers on the end table. A small wooden box sits next to the vase. The table, box, and wall behind the vase all are a deep reddish brown; this color makes up much of the photo. The flowers in the…

Some elements of this watercolor are abstract and patterned: the green leaves at left, the tablecloth, wallpaper background, and even the vase’s outline. Other elements, however, show careful attention to modeling and texture, like the orange. Palter…

Winograd uses a post-impressionist framework to depict household objects and the geometry of their surrounding space. Shapes are disrupted by vertical lines (like the pears and pitchers) or become radically abstracted (like green leaves as…

A two-story fly-over walkway bridges Water Street and connects Mill No. 1 and Mill No. 5. Annotations from the late 1940s or early '50s tell a story about the open door, seen to the left. At that door, factory 'seconds', or slightly defective…