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125 Masterpieces from the Collection of the Albright-Knox Art Gallery

Author
Evren, Robert; Kline, Katy; Kotik, Charlotta; Krane, Susan; Moore, Ethel; Nash, Steven; Raye, Helen; Wood, Emese
Publisher
Rizzoli International Publications, Inc., in association with the Albright-Knox Art Gallery
New York, New York; Buffalo, New York
Editor
Spaulding, Karen Lee
Type
Collection catalogue
Year

This collection catalogue features introductions to highlights from the Albright-Knox’s collection written by Robert Evren, Katy Kline, Charlotta Kotik, Susan Krane, Ethel Moore, Steven Nash, Helen Raye, Emese Wood, and a foreword by Douglas G. Schultz. Many of these texts were adapted from the previously published collection catalogues including "Contemporary Art 1942–72: Collection of the Albright-Knox Art Gallery," "Albright-Knox Art Gallery: Painting and Sculpture from Antiquity to 1942," and "Albright-Knox Art Gallery: Recent Acquisitions."

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Ammi Phillips

Portrait of Lewis Northrop

,
Two biomorphic forms sit side by side in the foreground of this abstract, dream-like landscape. The smaller form on the left includes a gray square with red sticks emerging from its left side. Narrow gray stalks support the blue and pink shapes that make up the taller form on the right, which casts a long shadow toward the top left corner of the painting. Nine small circular discs with white sides and blue surfaces appear scattered throughout the scene.
Yves Tanguy
Divisibilité indéfinie (Indefinite Divisibility) ,
This painting features a beige-color room full of fantastical creatures performing music and acrobatics, and floating through the air. These colorful beings are shaped like musical instruments, insects, animals, and mermaids and interact with instruments, musical notes, a ladder, dice, unicycle, a shooting star, and other objects. A window at top right looks out onto a landscape, and beneath it is a table with a fish, a globe, and papers.
Joan Miró
Carnaval d'Arlequin (Carnival of Harlequin) ,
Two small roughly defined figures stand in an opening framed by a low wall and several stark houses. The houses, wall, ground, and sky are painted in a limited range of grayish creams and browns. Muted pops of color come in the form of pinkish roofs on several of the homes and green shutters on the home closest to the foreground, which is shown in three-quarter view and fills much of the left side of the painting.
Maurice Utrillo
Maisons à l'Île d'Ouessant, Bretagne (Houses on the Island of Ouessant, Brittany) ,
This horizontally oriented canvas features a loosely painted rural scene of several old stone houses and a dirt road running between them. Tall trees rise above behind the roofs. The grey and somber light that pervades the scene overall streams from a cloudy sky in the top quarter of the canvas. In the painting’s middle ground, a human figure wearing a blue shirt and light-colored trousers raises an axe above his head in order to chop a large branch at his feet.
Alfred Sisley
Rue de village à Marlotte (Village Street in Marlotte) ,
Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash)
Giacomo Balla
Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash) ,
Die Wölfe (Balkankrieg) [The Wolves (Balkan War)]
Franz Marc
Die Wölfe (Balkankrieg) [The Wolves (Balkan War)] ,
Époque des forêts (Age of Forests)
Max Ernst
Époque des forêts (Age of Forests) ,
A life-sized bronze abstract female nude holds her hands placed in front of her chest, as if cradling an invisible sphere. She appears to be perched on a tall chair, which supports and frames the figure from behind. The facial features on her flat, round head are angular. Her long, skinny body terminates in long legs bent at the knee. The figure’s feet rest on a narrow rectangular shaped stool at the sculpture’s base.
Alberto Giacometti
L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] ,
Harlequin
Julio González
Harlequin ,
The simplified outlines of a child’s face, seen from forehead to chin, fill most of roughly textured and muted colored surface of this image. Black horizontal lines define bags under the person’s eyes, and an additional horizontal line defines a mouth with tightly closed lips. A diamond pattern extends across the person’s forehead at the work’s upper edge and extends to midway down either side of the face.
Paul Klee
Wehgeweihtes Kind (Child Consecrated to Suffering) ,
At center, a woman holds the hand of a small child, helping her up a set of stairs. The woman carries a bundle of laundry under her left arm, and both figures are dressed in what appears to be clothing typical of the mid-nineteenth century working class, although the dark, muted colors and sketchy brushwork make it difficult to make out detail. The brightly lit outlines of a city landscape cast the shadowy figures in strong relief.
Honoré Daumier
Une laveuse au Quai d'Anjou (Laundress on the Quai d'Anjou) ,
This wintery landscape features a path that follows a still gray river as it curves from the bottom right corner of the canvas and recede into the distance under an overcast sky. On the right side of the painting, smokestacks on a distant are reflected in the water. Four small figures summarily rendered in dark tones walk on the path, with one appearing to move toward the viewer. To the left is a patch of trees and grass that peeks out beneath melting snow.
Claude Monet
Chemin de halage à Argenteuil (Towpath at Argenteuil, Winter) ,
A woman wearing a low-cut pink evening dress and elbow-length gloves sits at the center of this horizontally oriented painting. What appears to be a multicolored furred or feathered garment rests on the back of her red chair. Her face, oriented left, is largely obscured by shadow. She clutches a folded fan in her right hand and adjusts the top of her left hand. The entire scene is loosely painted in a palette dominated by dark greens and yellows.
Edgar Degas
Portrait de Mlle Rose Caron (Portrait of Rose Caron) ,
Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon)
Henri Matisse
Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon) ,
Sunlight streams into a living room from open floor to ceiling windows on the left-hand side of this painting. A man sits with his back to the window, facing a child who stands slightly to the right of the image’s center on the room’s red-and-white striped carpet. A table with a decorative urn, a patterned curtain behind the child, and the rest of the room’s furnishings are also largely in shades of white and red with blue accents. The entire scene is painted in rough, loose brushstrokes.
Edouard Vuillard
Le peintre Ker-Xavier Roussel et sa fille (The Painter Ker-Xavier Roussel and His Daughter) ,
A large building topped by a dome held aloft by classical pillars dominates this brightly lit city scene. The building extends from the right edge of the canvas. On the left, a clear blue skills fills the area above a church with a large bell tower and a section of yellow cobblestones partially filled by a number of pedestrians.
Raoul Dufy
Le Panthéon et Saint-Étienne-du-Mont (The Pantheon and Saint-Étienne-du-Mont) ,
Solid black lines intersecting at right angles to trace a grid of differently sized squares and rectangles across the largely white surface of this painting. Four squares centrally located on the right edge are painted a vivid blue. Below and slightly to the right, three rectangles are painted yellow. Two narrow slivers of red emerge from the left edge of the canvas, slightly below center.
Piet Mondrian
Composition No. 11, 1940-42--LONDON, with Blue, Red and Yellow ,
Femme et oiseaux dans la nuit (Woman and Birds in the Night)
Joan Miró
Femme et oiseaux dans la nuit (Woman and Birds in the Night) ,

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