L'art surtout

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Edward Hopper, Night on the El Train, 1918, Etching.

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Walter Richard Sickerts, Brighton Pierrots, 1915.

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Jan Siberechts, View of a House and Its Estate, Belsize, Middlesex, 1696.

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Dod Proctor, Morning, 1926.

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Edward Wadsworth, The Beached Margin, 1937.

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Garry Winogrand, Hippie Hollow, Lake Travis, Austin, Texas, 1973, printed 1974.

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[richdirection]

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Georges Rouault, Self Portrait.

[strappedupwithmynina]

[jxtaposition]

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Jackson Pollock, Eyes in the Heat, 1946.

[museumaddictsanonymous]

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Jasper Johns, Summer, 1985.

[fuckyeahexpressionism]

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Marino Marini, Man and Horse #2, 1954.

[cavetocanvas]

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Henry Moore, Reclining Figure No. 4, 1954-55

This expressive bronze, with its mottled green patina, is typical of his work from the 1940s and ’50s, and reflects his renewed interest in surface texture and solid form following a period of making abstract sculptures that often contained large openings and stringed portions. Capturing the physicality of the human body without succumbing to exacting realism, Moore exaggerates the woman’s relaxed pose and the shape and relative sizes of her limbs, head, and torso. The drapery cascading over her thighs recalls a recent trip to Greece, where the artist was inspired by classical sculpture. Here, as in those ancient sculptures, the woman’s head and long neck are held regally, her features abbreviated into a generalized mask. (Heilbrunn Timeline of Art History)

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Donaldson Brothers, Sterling Baking Powder, ca. 1880, Chromolithograph.

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Attributed to Epimedes, Chalcedony Scaraboid, Archaic, ca. 500 BCE, Greek.

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Stephen Hannock, The Oxbow: After Church, After Cole, Flooded (Flooded River for the Matriarchs E. & A. Morgan), Green Light, 2000.