Lugansk Regional Universal Scientific Library named after M. Gorky
Art in New York Abstract Expressionism. Arshile Gorky, The Liver Is the Cock’s Comb, 1944, Oil on...
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Transcript of Art in New York Abstract Expressionism. Arshile Gorky, The Liver Is the Cock’s Comb, 1944, Oil on...
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Art in New York
Abstract Expressionism
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Arshile Gorky, The Liver Is the Cock’s Comb, 1944, Oil on canvas, 6‘ X 8‘ 2“.
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Jackson Pollock, She-Wolf, 1943.
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Jackson Pollock, Guardians of the Secret, 1943, Oil on canvas, 48 ¾” X 75".
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Jackson Pollock, Shimmering Substance, 1945, Oil on canvas, 30 ⅛” X 24 ¼”.
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David Alfaro Siqueiros, Self-Portrait, 1945, Pyroxylin on masonite.
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Thomas Hart Benton, A Social History of Missouri, 1935-37, tempera on canvas, Missouri State Capitol, Jefferson City.
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Thomas Hart Benton, A Social History of Missouri.
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Thomas Hart Benton, A Social History of Missouri.
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Thomas Hart Benton, A Social History of Missouri.
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Jackson Pollock, One (Number 31), 1950.
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Jackson Pollock, Autumn Rhythm (No. 30, 1950) 1950, Oil on canvas, 8' 9" X 17' 3", Metropolitan Museum of Art.
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Jackson Pollock, Lavender Mist (No. 1, 1950), 1950, oil, enamel paint, etc. on canvas, 7' 3" X 9' 11".
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Jackson Pollock at Work in his studio at East Hampton, Long Island (Photograph by Hans Namuth), 1950.
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Jackson Pollock at Work (by Namuth) 1950.
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Jackson Pollock at Work (by Namuth) 1950.
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Jackson Pollock at Work (by Namuth) 1950.
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Jackson Pollock at Work (Lee Krasner in the back), 1950.
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Vogue Magazine, 1951
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Jackson Pollock, Easter and the Totem, 1953, Oil on canvas.
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Willem de Kooning, Woman I, 1951-52, Oil on canvas, 75 ⅞” X 58".
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Willem de Kooning, Woman, 1950s.
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Mark Rothko, Four Darks on Red, 1958.
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Mark Rothko, Red on Red, 1950s.
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Mark Rothko, Orange and Tan, 1954, Oil on canvas, 6' 9" X 5' 3".
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Mark Rothko, Rust on Blue / No. 61, 1953, Oil on canvas, 9' 6” X 7' 7".
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Mark Rothko, Houston Chapel, 1971.
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Barnett Newman, Vir Heroicus Sublimis, 1950-51, Oil on canvas, 7' 11 3/8" x 17' 9 ¼”, MoMA, NY.
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Barnett Newman, Onement I, 1948.
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Barnett Newman.
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Franz Kline, Mahoning, 1956, Oil on canvas, 6' 8" X 8' 4".
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Franz Kline, Meryon, 1961.
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Robert Motherwell, Elegy to the Spanish Republic, 1953.
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Morris Louis, Veil, Synthetic Polymer on canvas, 1958-59.
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Helen Frankenthaler, Mountains and Sea, 1952, Oil on canvas, collection of the artist Mark di Suvero, Hankchampion, 1960, 73" X 12' 6" X 8' 9".
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Mark di Suvero, Hankchampion, 1960, 73" X 12‘ 6" X 8‘ 9“.
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Isamu Noguchi, Kouros, 1944-45, Pink marble, Metropolitan Museum of Art.
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Isamu Noguchi, Pyramid, Sun and Cube / sunken garden, Beinecke Library, Yale University, 1960-64.
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Josef Albers, Homage to the Square: Apparition, 1959, Oil on masonite, 24" X 24".
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Frank Stella, Die Fahne Hoch!, 1959, enamel on canvas, 10' 1 ½" X 6' 1".
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Frank Stella, Ophir, 1960-61, copper and oil paint on shaped canvas, 9' X 7' (irregular).
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Art in New York
European Postwar
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Jean Fautrier, The Jewess, 1943.
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Jean Fautrier, Head of a Hostage, 1944.
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Jean Dubuffet, Will to Power, 1946.
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Jean Dubuffet, Le Metafisyx, August 1950. Oil on canvas, 45 5/8 X 35 ¼”.
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Jean Dubuffet, Childbirth (L’Accouchement), from the “Marionettes of the Town and the Country” series, 1944. Oil on canvas, 39 3/8 X 31 3/4”.
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Alberto Giacometti, Man Pointing, 1947. Bronze, 70 ½” X 40 3/4”.
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Alberto Giacometti, The Invisible Object (Hands Holding a Void), 1934-35, bronze, 5’1” high, MoMA, NY.
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Alberto Giacometti, The Chariot, 1950.
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Alberto Burri, Composition, 1953, Oil, gold paint on burlap and canvas.
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Alberto Burri, Grande Rosso P 18, 1964.
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Alberto Burri, Sacchi (sack), c. 1954, Mixed media on canvas.
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Lucio Fontana, Spatial Concept, Iron, 1950.
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Lucio Fontana, Spatial Concept, 1960.
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Guy Debord and Asger Jorn, International Situationism, 1959.
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Asger Jorn, Modifications, 1962.
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Giuseppe Pinot-Gallizio, Industrial Painting, 1958.
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Joseph Beuys, Action in University of Aachen, 1964.
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Joseph Beuys, How to Explain Paintings to a Dead Hare, 1965.
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Joseph Beuys, The Pack, 1969.
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Joseph Beuys, Fat Chair, 1964.
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Joseph Beuys, Coyote, I Like America and America Likes Me, 1974, one-week performance/ action sculpture in René Block Gallery, New York.
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Art in New York
Nouveau Realism
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Yves Klein, Single Day Newspaper- (Nov. 27, 1960), The Painter of Space Hurls Himself into the Void, 1960.
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Yves Klein, Anthropometries of the Blue Period, 1960, Performance, Paris, March 9 1960, at Galerie Internationale d’Art Contemporain.
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Yves Klein, Anthropometries of the Blue Period, 1960.
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Yves Klein, Anthropometries of the Blue Period, 1960 Performance, 9 March 1960, at Galerie Internationale d’Art
Contemporain, Paris.
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Yves Klein, Anthropometries of the Blue Period, 1960 Performance, 9 March 1960, at Galerie Internationale d’Art Contemporain, Paris.
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Yves Klein, from Anthropometries of the Blue Period, Ant 74, 1960.
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Yves Klein, from Anthropometries of the Blue Period, 1960.
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Yves Klein, from Anthropometries of the Blue Period, 1960.
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Yves Klein, Untitled Blue Monochrome (IKB), 1959. Dry pigment in synthetic resin on paper, 8 ½” X 7 1/8”.
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Yves Klein, Requiem, Blue Monochrome, sponge relief, 1960.
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Yves Klein, Le Vide, Iris Clert Gallery, 1958.
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Yves Klein, Zone of Immaterial Pictorial Sensibility, Paris, 26 January, 1962.
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Yves Klein, F31, 1961, fire paintings done with torch flame.
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Yves Klein, PRI, Portrait Relief of Arman, 1962 plaster cast made in bronze and tinted blue.
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Reconstruction of Yves Klein's Sculpture Aérostatique: 1001 Blue Balloons released on the Paris Centre Pompidou Piazza, on Sunday January 21st, at 3PM, 2007.
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Arman, Le Plein (Full Up), 1960.
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Arman, Le Plein (Full Up), detail, 1960.
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Arman, Accumulations, Poubelle Ménagère, (Household Trash), 1960.
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Piero Manzoni, Living Sculpture, 1961.
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Piero Manzoni, Living Sculpture, 1961.
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Piero Manzoni, Achrome, fiberglass on board, 1962.
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Manzoni, Merde d’Artiste (Artist’s Shit), 1961.
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Piero Manzoni, Merde d’Artiste (Artist’s Shit), 1961.
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Francis Bacon, Three Studies for figures at the Base of a Crucifixion, 1944, Oil on board support, triptych, each panel 37” X 29”.
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Francisc Bacon, Study After Velazquez’s Portrait of Pope Innocent X, 1953. Oil on canvas, 5’ ¼” X 3’ 10 ½”.
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Francis Bacon, Self-Portrait, 1969. Oil on canvas, 14” X 12”.
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Mario Merz, Double igloo, 1979 (showing Alligator with Fibonacci Numbers to 377 on the ceiling). Outer structure: metal tubes, clamps, glass, and hat; inner structure: metal tubes, wire mesh, dried mud, neon tubes; 9’ 10” high X 19’ 8 ¼” diameter overall.