Browse Items (1279 total)

A sunny, hazy day in western New York is framed by trees and a lush green lawn. The view of Ithaca rendered de-emphasizes its commercial center in favor of forested hill dotted with homes. It's possible that the tall structure depicted is part of the…

An apparently straightforward scene of home construction reveals a more complex, interconnected relationship between humans and the rest of nature. In the left foreground we see the stump of a tree, either downed by windfall or more likely cut down.…

The plant depicted here probably is a Japanese arrowhead (Saggitaria japonica), which is native to marshes and due to its edible tuber occasionally called a “duck potato.” Kadowaki’s interest certainly is aesthetic—due to its distinctive leafs and…

We approach this still life obliquely, as a momentary and almost casual glimpse of domestic space: a covered table is pushed against the wall, next to a door frame, holding a few everyday objects set down in passing. Yet each of them points beyond…

At least a third of this painting is dominated by a harbor, whose representation of waves resemble the letter "U" and whose boats are the simplest of icons. To characterize the scene as childlike, however, overlooks the skillful pattern-making…

A vase of flowers is built upon four colors—yellow, orange, green, and blue—along with well-chosen accents and whites. De-differentiating marigolds into puffs of color is complemented by Kerrwood’s flattened space; slight variations of texture on the…

A clearing in forested land, receding toward the painting’s center, draw our attention to a stone house. But it seems to have at least one and possibly two additions to its original structure; along with the farm outbuildings, road and bridge, and…

An arrangement of dried stalks in a ceramic urn creates this dazzling play of colors and light. Its setting is a wooden table, Navaho-patterned weaving, and earth-colored walls; along with the bright light passing in through a curtain at left, 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…