Morris Hirshfield (1872 – 1946) began to paint at the age of 65, after retiring from a career making women’s coats, suits and slippers. The flattened, decorative forms of Inseparable Friends (1941) echo his garment-making work. Without distinguishing between the floor and the wall, Hirshfield creates a room through thee planes of shapes and patterns: the women at their mirror, the tasseled curtain above them, and the plant and shoes at their feet. While Hirshfield’s compositions are simplified and stylized, he aimed for meticulous, realistic detail and believed that his figures represented the human body “better than the camera can do.”
This linoleum cut print, Speed Trial (1932), was inspired by Bluebird, a race car that reached a velocity of 246 miles per hour at Daytona Beach, Florida in 1932, breaking the land-speed record. Artist Cyril Edward Power (1872 – 1951) used rhythmic, repetitive curves to conjure the rushing motion of the aerodynamic vehicle. He printed the image using three layers of color: light blue, dark blue, and green. He stipulated that the dark blue should be printed “dark on bonnet, paling to tail” — a graded passage that emphasizes the engine, at the front of the car, as the source of its power.
Pablo Picasso created this work, Woman Dressing Her Hair (1940) in the months prior to the German occupation of Royan, France, where he fled from Paris as the Nazis advanced across Europe. He depicted a woman inside a boxlike room barley bigger than her body; her massive figure is awkwardly compressed and her contorted body juts this way and that. Transforming a familiar and typically serene subject in art history — a woman grooming herself — into a powerful grotesque, Picasso lent expression to the anxiety and confinement that attended this dark period.
“At the start of the fifties, Uruguayan artist Maria Freire (1917 – 2015) recalled, “I abandoned figuration for the perspective of the imagination, anxious to create a new space.” To develop her own style of abstraction, she initially experimented with sculpture, creating virtual volumes through a single, dynamic line. Complex spatial effects also characterize her abstract paintings, such as this Untitled piece from 1954. Though free of perspective, Freire’s painted interwoven forms seem to recede, even dance, in an ambiguous space in tension with the painting’s flat surface.
The first of dozens of boxes Joseph Cornell made in honor of famous ballerinas, Taglioni’s Jewel Casket (year) pays homage to Marie Taglioni, an acclaimed 19th-century Italian dancer. According to legend, Taglioni kept an imitation ice cube in her jewelry box to commemorate dancing in the snow at the behest of a Russian highwayman (a traveling thief). The box is infused with erotic undertones — both in the tactile nature of the materials (glass cubes, velvet, and a rhinestone necklace purchased at a Woolworth’s dime store in New York) and in the incident itself, in which Taglioni reportedly performed on an animal skin placed across the snowy road.
Although he spent his entire artistic career living and working in Queens, New York, Cornell drew inspiration from the European art he saw at the Julien Levy Gallery — the first in the United States to exhibit Surrealist work — and he often inspired the European Surrealists in turn. In a press release for a 1939 exhibition of Cornell’s work at the Levy Gallery, Salvador Dalí heralded it as “the only truly Surrealist work to be found in America.”
Photographed in the Museum of Modern Art in New York City.
While Self Portrait (1929) realistically depicts John Kane’s body in his late sixties — detailing his veins, chest hair and wrinkles — it is also an object of decorative display, with a frame painted around the canvas edges and arches defining the figure’s head. Rendered in muted colors, the bare-chested artist faces his viewers against a stark background, recalling classic self-portraits and images of Christ. Kane explained, “Chiefly, I am impressed with the works of the old masters. These I cannot study enough.” Working by day as a laborer, Kane could not attend formal art classes, but he devoted much of his spare time to studying and practical painting.
“A painting should be something that begins and ends in itself,” Rhod Rothfuss wrote. With this cut-out frame, the artist put his principle into practice: in Yellow Quadrangle (Cuadrilongo Amarillo, 1955) the slender yellow rectangle on the left juts out, and the support takes on the shape of the painting itself . While his work was indebted to that of Joaquin Torres-Garcia and to European abstract artists such as Mondrian, Tothfuss was also influenced by vernacular practices. The alkyd resin present in this work was also used by the artist to create floats for carnival parades in his native Montevideo.
Created in the aftermath of World War II, Painting (1946) is likely a veiled portrait of Neville Chamberlain, the British prime minister who often carried an umbrella and has gone down in history for his policy of accommodation of the Nazi regime. His dark suit is punctuated by a bright yellow boutonniere, yet his bared teeth and concealed gaze suggest brutality. This sense of menace is accentuated by the cow carcasses suspended behind him. The drawn window shades evoke those found in a widely circulated photograph of Hitler’s bunker, an image that Francis Bacon included in mulipleworks. Bacon claimed that this work was an accident; he had originally set out to paint a bird descending onto a field.
122 Rue Du Temple is the Paris address from which artist Jacques Villegle detached many of the movie posters and political notices that he used to make this work in 1968. After tearing fragments of the original images, he pasted these passages of color, text, and image into a chance composition. Many of the fliers used here announced the city’s May 1968 student and worker demonstrations, and the artist considered the people who had posted them to be his collaborators, understanding their use of advertising billboards as a precursor for his process.
For Venezuelan artist Antonieta Sosa, Ajedrez Visual(Visual Chess), 1965, was “like my spinal column or my umbilical cord, uniting me to painting.” Scattered pops of color interrupt the regularity of the black grid, animating it with the playful movement suggested by the work’s title.
At times, these contrasting hues prompt an optical flickering or afterimage. To Sosa, such retinal effects underscore vision as a dynamic physiological process. Thus, Visual Chess foreshadows her eventual decisions to “come down from the wall” to engage with real space and bodies in the form of sculpture, performance and installations.