AIC: Modern Art

Sharing artworks from the Art Institute of Chicago's Modern Art department. Not associated with the Art Institute of Chicago.

[guggenheim-arts]

Study for Amorpha, Warm Chromatic and for Fugue in two colors; Study for The Fugue by František Kupka, 1910, Guggenheim Museum

The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976 © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris Medium: Pastel on machine-made laid-line paper

https://www.guggenheim.org/artwork/2385

[aic-modern]

Pont Saint Michel, Paris, Albert Marquet, 1905, Art Institute of Chicago: Modern Art

Mr. and Mrs. Martin A. Ryerson Collection Size: 12 1/2 × 15 5/8 in. Medium: Oil on canvas

https://www.artic.edu/artworks/16532/

[aic-modern]

Woman at an Easel (Green Screen), Georges Braque, 1936, Art Institute of Chicago: Modern Art

A Millennium Gift of Sara Lee Corporation Size: 36 1/4 × 28 3/4 in. (92 × 73 cm) Medium: Oil on canvas

https://www.artic.edu/artworks/153699/

[guggenheim-arts]

Mime by Man Ray, 1916, Guggenheim Museum

The Solomon R. Guggenheim Foundation Gift, Peggy Guggenheim, 1979 © 2016 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris Medium: Pochoir print with ink on paper

https://www.guggenheim.org/artwork/32207

[aic-modern]

Part of a Garden, Kurt Seligmann, 1952, Art Institute of Chicago: Modern Art

Gift of Society for Contemporary American Art Size: 89.4 x 89.5 cm (35 3/16 x 35 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/79387/

[aic-modern]

Painterly Realism of a Football Player—Color Masses in the 4th Dimension, Kazimir Malevich, 1915, Art Institute of Chicago: Modern Art

During the summer and fall of 1915, Kazimir Malevich secluded himself to prepare for the groundbreaking exhibition 0.10 (Zero-Ten) The Last Futurist Exhibition of Paintings. Seeking to push the formal discoveries of Cubism and Futurism to their limits, to find the most essential core—the “zero”—of painting, Malevich produced a series of completely abstract works that he declared constituted an entirely new system of art. Suprematism, as he called the new style, eradicated all references to the natural world and focused instead on the inherent relationships between colored geometric shapes against the void of a subtly textured white background. In the exhibition catalogue he warned, “In naming some of the paintings I do not wish to point out what form to seek in them, but I wish to indicate that real forms were approached in many cases as the ground for formless painterly masses from which a painterly picture was created, quite unrelated to nature.” Painterly Realism of a Football Player—Color Masses in the 4th Dimension belongs to this very first group of Suprematist works. The subtitle refers to the mathematical theory of fourth dimensional space, a concept appropriated by many early twentieth-century artists to justify their representation of truths beyond immediate sensory perception. Through prior gifts of Charles H. and Mary F. S. Worcester Collection; Mrs. Albert D. Lasker in memory of her husband, Albert D. Lasker; and Mr. and Mrs. Lewis Larned Coburn Memorial Collection Size: original: 27 × 17 1/2 in. (71 × 44.5 cm); present: 27 5/8 × 17 5/16 in. (70.2 × 44.1 cm) Medium: Oil on canvas

https://www.artic.edu/artworks/207293/

[aic-modern]

Portrait of Pablo Picasso, Juan Gris, 1912, Art Institute of Chicago: Modern Art

In 1906 Juan Gris traveled to Paris, where he met Pablo Picasso and Georges Braque and participated in the development of Cubism. Just six years later, Gris too was known as a Cubist and identified by at least one critic as "Picasso’s disciple." Gris’s style draws upon Analytic Cubism—with its deconstruction and simultaneous viewpoint of objects—but is distinguished by a more systematic geometry and crystalline structure. Here he fractured his sitter’s head, neck, and torso into various planes and simple, geometric shapes but organized them within a regulated, compositional structure of diagonals. The artist further ordered the composition of this portrait by limiting his palette to cool blue, brown, and gray tones that, in juxtaposition, appear luminous and produce a gentle undulating rhythm across the surface of the painting.Gris depicted Picasso as a painter, palette in hand. The inscription, "Hommage à Pablo Picasso," at the bottom right of the painting demonstrates Gris’s respect for Picasso as a leader of the artistic circles of Paris and as an innovator of Cubism. At the same time, the inscription helped Gris solidify his own place within the Paris art world when he exhibited the portrait at the Salon des Indépendants in the spring of 1912. Gift of Leigh B. Block Size: 36 3/4 × 29 5/16 in. (93.3 × 74.4 cm) Medium: Oil on canvas

https://www.artic.edu/artworks/8624/

[cma-modern-european-art]

The Large Plane Trees (Road Menders at Saint-Rémy), Vincent van Gogh , 1889, Cleveland Museum of Art: Modern European Painting and Sculpture

In May 1889, Van Gogh voluntarily committed himself to an asylum near the small town of Saint-Rémy in Provence. His doctors soon gave him permission to paint on day excursions to surrounding fields. While walking through Saint-Rémy that November, he was impressed by the sight of men repairing a road beneath immense plane trees. “In spite of the cold,” he wrote to his brother, “I have gone on working outside till now, and I think it is doing me good and the work too.” Rushing to capture the yellowing leaves, he painted this composition on an unusual cloth with a pattern of small red diamonds visible in the picture’s many unpainted areas. Size: Framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); Unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.) Medium: oil on fabric

https://clevelandart.org/art/1947.209

[aic-modern]

Portrait of Marcel Duchamp, Jacques Villon, 1950, Art Institute of Chicago: Modern Art

Bequest of Maxine Kunstadter Size: 13 1/8 × 9 1/2 in. Medium: Oil on canvas

https://www.artic.edu/artworks/53007/

[aic-modern]

Farm near Duivendrecht, Piet Mondrian, 1911, Art Institute of Chicago: Modern Art

Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg Size: 34 × 42 1/2 in. (86.3 × 107.9 cm) Medium: Oil on canvas

https://www.artic.edu/artworks/144467/

[aic-modern]

Globe and Banjo, Jean Metzinger, 1930, Art Institute of Chicago: Modern Art

Gift of Albert Robin Size: 65 × 92 cm (25 1/2 × 36 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/185189/

[the-barnes-art-collection]

Man with Red Beard by Corneille de Lyon, The Barnes Foundation

Barnes Foundation (Philadelphia), Collection Gallery, Room 03, North Wall Medium: Oil on panel

https://collection.barnesfoundation.org/objects/4726/

[aic-modern]

Women Harvesting, Paul Klee, 1932, Art Institute of Chicago: Modern Art

Gift of Mrs. Morton G. Schamberg Size: 20 × 21 3/8 in. (50 × 54 cm) Medium: Pastel on canvas, on burlap

https://www.artic.edu/artworks/9553/

[aic-modern]

Landscape in Provence, André Derain, 1925, Art Institute of Chicago: Modern Art

Charles H. and Mary F. S. Worcester Collection Size: 14 7/8 × 21 5/8 in. (37.8 × 55 cm) Medium: Oil on cradled panel

https://www.artic.edu/artworks/59867/

[aic-modern]

Great Black and Red Branch, Fernand Léger, 1951, Art Institute of Chicago: Modern Art

Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 67 × 40 cm Medium: Ceramic

https://www.artic.edu/artworks/78513/

[aic-modern]

Halleluiah, Max Ernst, 1948, Art Institute of Chicago: Modern Art

Bequest of Richard S. Zeisler Size: 101.6 × 76.5 cm (40 × 30 1/8 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/185759/

[aic-modern]

Song, Raymond Duchamp-Villon, 1908, Art Institute of Chicago: Modern Art

Gift of The Arts Club of Chicago Size: 21 × 37 1/4 × 18 7/8 in. (53.3 × 94.6 × 47.9 cm) Medium: Elm

https://www.artic.edu/artworks/39885/