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Contemporary Art 1942-72: Collection of the Albright-Knox Art Gallery

Author

Alloway, Lawrence; Fry, Edward F.; Geldzahler, Henry; Marck, Jan van der; Oxenaar, R. W. D.; Rickey, George; Russell, John; Sandler, Irving

Publisher

Praeger Publishers, in association with the Albright-Knox Art Gallery

New York, New York

Editor

Moore, Ethel

Type

Collection catalogue

Year

1972

This collection catalogue features highlights of the Albright-Knox Art Gallery's collection created between 1942 and 1972 and notes on these works by Irving Sandler, Edward F. Fry, John Russell, R. W. D. Oxenaar, Lawrence Alloway, Jan van der Marck, George Rickey, and Henry Geldzahler.

Related Artworks

Dancer — Marino Marini

Dancer , 1952

Torso — Reg Butler

Torso , ca. 1950

The Cry — Isamu Noguchi

The Cry , 1962

Sacrifice — Jacques Lipchitz

Sacrifice , 1948

Constellation-Punctuation — Jean (Hans) Arp

Constellation-Punctuation , 1956

Linear No. 2, Variation — Naum Gabo

Linear No. 2, Variation , 1962-1965

The Artist and His Model — Pablo Picasso

The Artist and His Model , 1964

Sky Cathedral — Louise Nevelson

Sky Cathedral , 1958

Ten identical boxes industrially fabricated out of galvanized iron and orange Plexiglas protrude seemingly weightlessly from the wall in a vertical stack. Each box is separated from the unit above and below by a space equal to its height. When lit from above, the sculpture casts a dramatic pattern of orange and gray shadows on the adjacent walls and floor. — Donald Judd

Untitled , 1969

La Fuite (Flight) — Karel Appel

La Fuite (Flight)
, 1954

Thick jagged brushstrokes come together in an abstract composition covering this large-scale, horizontally oriented painting. Fields of red, and strokes of yellow, blue and black punctuate the largely white surface. — Willem de Kooning

Gotham News , 1955

Vie No. 1 (Life No. 1) — Auguste Herbin

Vie No. 1 (Life No. 1)
, 1950

Relational Painting #93 — Fritz Glarner

Relational Painting #93 , 1962

Homage to the Square: Terra Caliente — Josef Albers

Homage to the Square: Terra Caliente , 1963

Multidirectional, abstract brushstrokes animate the surface of this vertically oriented canvas. Dark blues, greens, and blacks contrast with passages of pale yellow and red. Two areas of red at top right and toward the bottom of the lower edge of the canvas seem to pulsate forward. At top left, a dark brown arc that looks like the letter C is surrounded with a dark rectangular outline. — Hans Hofmann

Exuberance , 1955

A series of roughly rectangular shapes of pale blue, green, yellow, and white layer over and under each other across the surface of this portrait-oriented oil painting. A loose geometric patterning in thin black pencil overlays some of the shapes near the bottom center. A small, bright red triangle pops out from near the bottom left corner. — Ben Nicholson

June 4-52 (tableform) , 1952

Female, Male — Alan Davie

Female, Male , 1955

White Bird — William Baziotes

White Bird , 1957

Green Sculpture II — Herbert Ferber

Green Sculpture II , 1954

Elegy to the Spanish Republic XXXIV — Robert Motherwell

Elegy to the Spanish Republic XXXIV , 1953-1954

Construction from a Ring — Max Bill

Construction from a Ring , 1942-1963

No image available,
but we're working on it

Ronald Wendell Davis

Plane Sawtooth , 1970

Blue Territory — Joan Mitchell

Blue Territory , 1972

Royal Game I — Louise Nevelson

Royal Game I , 1961

Star — Robert Indiana

Star , 1960-1962

Flying Bird — Carl-Henning Pedersen

Flying Bird , 1951

Light blue polka dots randomly pepper the solidly orange-colored surface of this large square canvas. Neat rows of six or seven dots line the painting’s edges. The contrast between the vibrant orange and pale blue creates an optical effect that makes it appear as if the blue dots are vibrating. — Larry Poons

Orange Crush , 1963

Stripes of orange, black, yellow, blue, and red stream from the left and right sides of this large, horizontally oriented abstract painting. The stripes are thickest near the top of the canvas and grow thinner as they reach the bottom. A large expanse of raw canvas yawns between these colored passages. — Morris Louis

Alpha , 1960

Any Fire Flower — Otto Piene

Any Fire Flower , 1964

Drift No. 2 — Bridget Riley

Drift 2 , 1966

Field of 32 Parts in 4 Colors — Max Bill

Field of 32 Parts in 4 Colors , 1965

11-67 — Nassos Daphnis

11-67 , 1967

Lotus Europa — Nicholas Krushenick

Lotus Europa , 1969

Flat Rate II — Lyman Kipp

Flat Rate II , 1969

Lecteur I.K.B. 1960 (No. 1) — Yves Klein

Lecteur I.K.B. 1960 (No. 1) , 1960

White and Gold — Kenzo Okada

White and Gold , 1961

The Final Veteran — Larry Rivers

The Final Veteran , 1960

What appears to be a collage of unrelated images from advertisements and everyday photographs fills the surface of this large-scale horizontally oriented painting. A massive bowl of spaghetti and meatballs in the bottom right, a gray picnic table slightly above center, and three ballerina legs paired with the words NEW and Oxy at bottom left. A paint-splatted plastic bag tied at the bottom is suspended from the top-left corner of the canvas; a pile of paint-splattered wood scraps lies on the floor below. — James Rosenquist

Nomad , 1963

Green Patio Door, 1955 — Georgia O'Keeffe

Green Patio Door, 1955 , 1955

New England, October — Grace Hartigan

New England, October , 1957

Woman in a Window — Richard Diebenkorn

Woman in a Window , 1957

Kroll — John Chamberlain

Kroll , 1961

Ouverture sur l'été (Beginning of Summer) — Corneille

Ouverture sur l'été (Beginning of Summer) , 1962

At the center of the painting is a blue, eight-pointed star against a green background within two concentric circles of stenciled, all-capitalized text on white. The circle within the smaller of these rings is green, and the background visible outside the larger of these rings is blue. The text in the smaller of these rings is blue and the text in the larger of these rings is green. — Robert Indiana

Year of Meteors , 1961

A woman’s head and neck, cleanly outlined like a classic comic book illustration, fills the majority of this large square canvas. This figure is painted in bright red and white against a solid yellow background. The woman looks toward the right and her large mouth is opened in a laugh. Shoulder length, loosely curled hair frames her face. Her skin is covered with a field of miniscule red dots in emulation of halftone printing. — Roy Lichtenstein

Head - Red and Yellow , 1962

The Generals — Marisol

The Generals , 1961-1962

Odalisque — Conrad Marca-Relli

Odalisque , 1957

Numbers in Color — Jasper Johns

Numbers in Color , 1958-1959

The Whiteness of the Whale — Sam Francis

The Whiteness of the Whale , 1957

Requiem — Franz Kline

Requiem , 1958

Composition — Serge Poliakoff

Composition , 1953

A series of three-dimensional geometric forms balance on two forked legs in the front and a third leg in the back. Overall, the sculpture abstractly mimics the human form: a vertical half circle at the top serves as a head and is connected to the rest of the work by a long vertical rectangle that resembles a neck. Two additional long rectangles at the center of the work sit alongside further half circles that resemble a shoulder and two hips. — David Smith

Tanktotem IV , 1953

Paysage de Vaucluse No. 2 — Nicolas de Staël

Paysage de Vaucluse No. 2 , 1953

Levant for E. W. R. — Theodoros Stamos

Levant for E. W. R. , 1958

A pattern of concentric, white diamond shapes fills this otherwise black canvas. The pattern extends from the paintings center at regular intervals of two and a half inches with the largest diamonds partially cut off at the work’s edges. — Frank Stella

Jill , 1959

No. 12 - 1952 — Bradley Walker Tomlin

No. 12 - 1952 , 1952

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 , 1940-1942

Sommernachtstraum (Summer Night's Dream) — Hans Hofmann

Sommernachtstraum (Summer Night's Dream) , 1957

Mirrored Room — Lucas Samaras

Mirrored Room , 1966

Spatiodynamique 22 — Nicolas Schöffer

Spatiodynamique 22 , 1954

More than a dozen figures crowd this canvas. Four appear to be seated around a table in the center and the rest appear to be standing elsewhere in the room. The figures’ features are abstracted, exaggerated, and outlined with thick black lines filled with a range of shades of muted russet, turquoise, pink, and green. The black frame of what appears to be a French door interrupts the right third of the composition. — Max Beckmann

Hotel Lobby , 1950

Round Trip — Helen Frankenthaler

Round Trip , 1957

Monsieur Plume pièce botanique (portrait d'Henri Michaux) — Jean Dubuffet

Monsieur Plume pièce botanique (portrait d'Henri Michaux) , 1946

A brightly colored grid stands out in sharp contrast against the dark blue and green background of this large-scale square painting. At the center of the work, the artist distorted the grid to create the optical illusion of a large spherical shape bulging out of this flat surface. — Victor Vasarely

Vega-Nor , 1969

Seated Figure — Fritz Wotruba

Seated Figure , 1959

A muscular white dog on a chain leash and the lower legs of its owner are visible beneath a dark blue trapezoid that fills the upper quarter of this vertically oriented canvas. The pair stand on sidewalk abutting a stretch of road perforated by a storm drain. The dog’s head and tail are lowered, and its front two legs extended as if caught in the moment springing forward. The artist’s palette of black, beige, and grey conveys a dark and tense atmosphere. — Francis Bacon

Man with Dog , 1953

Abstract shapes loosely resembling animal or human body parts populate this abstract landscape. These forms, painted in many different hues of red, yellow, blue, orange, white, and green, boldly stand against a background in more neutral shades of brown and gray-blue. Thin black lines delineate some of the forms, while others are boundless fields of color. — Arshile Gorky

The Liver Is the Cock's Comb , 1944

January 1950-D — Clyfford Still

January 1950-D , 1950

1951-E — Clyfford Still

1951-E , 1951

1951-L-No. 2 — Clyfford Still

1951-L-No. 2 , 1951

November 1954 — Clyfford Still

November 1954 , 1954

September 1955 — Clyfford Still

September 1955 , 1955

November 1953 — Clyfford Still

November 1953 , 1953

1963-A — Clyfford Still

1963-A , 1963

Yellow, jagged-edged forms tear through portions of this mostly matte black canvas. The largest of these forms runs the full height of the painting near its right edge. Each of the yellow streaks includes small areas of white, which most appear in the center of the form, flanked by larger areas of yellow. Three small patches of unpainted canvas are visible near the bottom-left corner. — Clyfford Still

1957-D-No. 1 , 1957

1954 — Clyfford Still

1954 , 1954

1945-K — Clyfford Still

1945-K , 1945

July 1945-R — Clyfford Still

July 1945-R , 1945

September 1946 — Clyfford Still

September 1946 , 1946

1946-L — Clyfford Still

1946-L , 1946

1946-N — Clyfford Still

1946-N , 1946

January 1947 — Clyfford Still

January 1947 , 1947

1947-8-A — Clyfford Still

1947-8-A , 1947-1948

1947-G — Clyfford Still

1947-G , 1947

1947-8-W-No. 2 — Clyfford Still

1947-8-W-No. 2 , 1947-1948

July 1948 — Clyfford Still

July 1948 , 1948

January 1948 — Clyfford Still

January 1948 , 1948

1948-B — Clyfford Still

1948-B , 1948

1948-E — Clyfford Still

1948-E , 1948

1948-M — Clyfford Still

1948-M , 1948

1949 — Clyfford Still

1949 , 1949

1949-C — Clyfford Still

1949-C , 1949

1949-H — Clyfford Still

1949-H , 1949

1949-M — Clyfford Still

1949-M , 1949

October 1950 — Clyfford Still

October 1950 , 1950

November 1950 — Clyfford Still

November 1950 , 1950

November 1950-No. 2 — Clyfford Still

November 1950-No. 2 , 1950

Serie 14 No. 2 — Julio Le Parc

Serie 14 No. 2 , 1970

Permanence — Gottfried Honegger

Permanence , 1961

Voyage — Philip Guston

Voyage , 1956

Pintura (Painting) — Rogelio Polesello

Pintura (Painting) , 1969

Artist Jackson Pollock dripped, poured, and splattered black, white, red, yellow, and blue oil paint across the entire surface of this large-scale, horizontally oriented canvas. The colors are visible as separate, overlapping and convey a sense of motion and energy; no single color dominates. — Jackson Pollock

Convergence , 1952

Delfina — Jack Youngerman

Delfina , 1961

Bois-tiges de fer — Jesús Rafael Soto

Bois-tiges de fer , 1964

Cubi XVI — David Smith

Cubi XVI , 1963

A field of hand-painted white stars alternating with dark blue dots fills the light blue background of this nearly square canvas. Attached to the bottom-right corner is a what appears to be the base of a child’s table lamp, complete with a blocky castle and toy soldier painted in solid shades of white, blue, and red beneath a shadeless, illuminated bulb. Midway up the left edge of painting is a light switch with a blue plate and worn white switch. — Jim Dine

Child's Blue Wall , 1962

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) , 1942

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) , 1945

Difficult — Kurt Schwitters

Difficult , 1942-1943

A rectangular white canvas sits horizontally. In the top-right corner, there is a large black circle; a large red circle of roughly equal size is adjacent to the black dot, toward the center of the canvas. Beneath these dots are energetic and erratic swirls of black paint with splatter and drips on their edges. — Adolph Gottlieb

Dialogue I , 1960

Turbulent Forest — Carl Morris

Turbulent Forest , 1956

April 1962 — Clyfford Still

April 1962 , 1962

Ovestone — Ernst Wilhelm Nay

Ovestone , 1955

Broglie — Richard Mortensen

Broglie , 1955

Variation — Antoine Mortier

Variation , 1951

The Light — Walter Tandy Murch

The Light , 1959

3 Avril 1954 — Pierre Soulages

3 Avril 1954 , 1954

Unrest — Julian Stanczak

Unrest , 1963

Alaska I — Hedda Sterne

Alaska I , 1958

Structure XI-6F — Peter Struycken

Structure XI-6F , 1967

Ian Stuart

H , 1962

No image available,
but we're working on it

Ian Stuart

Pastoral , 1962

Trajan and the Children — Walter Stuempfig

Trajan and the Children
, ca. 1944

The background of this largely abstract painting is dark gray with a collection of brushy white elements that dissipate outward from the center. Around this center float several white rectangular forms shown from various angles. Interspersed among the rectangular forms are five abstract, robot-like masses made up of yellow appendages. In the bottom third of the canvas, overlaying this composition, are additional white graffiti-like scribbles. — Roberto Matta

Poly-joueurs des cartes (Card Players) , ca. 1957

La Paura del buio (Fear of the Night) — Afro

La Paura del buio (Fear of the Night)
, 1952

Rythme coloré (Colored Rhythm) — Sonia Delaunay

Rythme coloré (Colored Rhythm) , 1958

4 July 1956 — Pierre Soulages

4 July 1956 , 1956

Homage to the Square: Dedicated — Josef Albers

Homage to the Square: Dedicated , 1955

No. 15 — Ad Reinhardt

No. 15 , 1952

Two hazily painted rectangles, one yellow and the second a burnt orange, float against an orange creamsicle colored background, which is visible along the margins of the canvas and in a strip separating the two rectangles. The yellow rectangle is smaller, extending about a third of the way down from the top of the canvas. The burnt orange rectangle fills much of the bottom two thirds of the canvas. — Mark Rothko

Orange and Yellow , 1956

Concertino — Afro

Concertino , 1948

Loud Tactile Painting — Yaacov Agam

Loud Tactile Painting , 1962

Pintura (Painting) — Roberto Aizenberg

Pintura (Painting) , 1968-1969

La struttura a elementi quadri, verde/rosso (Structure Composed of Green/Red Square Elements) — Getulio Alviani

La struttura a elementi quadri, verde/rosso (Structure Composed of Green/Red Square Elements) , 1968

Cock — Carl Andre

Cock , 1963

Water from the Rock — Richard Joseph Anuszkiewicz

Water from the Rock , 1961-1963

Convex, Concave I Dimensional — Richard Joseph Anuszkiewicz

Convex, Concave I Dimensional , 1967

No image available,
but we're working on it

Karel Appel

Fire World , 1957

Personnage et Fleur (Personage and Flower) — Karel Appel

Personnage et Fleur (Personage and Flower) , 1967

Toccata et Fugue — Arman

Arman

Toccata et Fugue , 1962

Family Going for a Walk — Kenneth Armitage

Family Going for a Walk , 1951

Seated Woman with Arms Extended — Kenneth Armitage

Seated Woman with Arms Extended , 1953-1957

Charlie — Anne Arnold

Charlie , 1969

Charlotte — Anne Arnold

Charlotte , 1971

Somersault — Jean (Hans) Arp

Somersault , 1942

L'Etoile (Star) — Jean (Hans) Arp

L'Etoile (Star) , 1956

Don Quixote — Revington Arthur

Don Quixote , 1964

Villa Rotunda — John Atherton

Villa Rotunda
, 1942

West #2 — Edward Avedisian

West #2 , 1962

Anxiety — Beth Nablo

Anxiety
, 1958

Two Nights — Masayuki Nagare

Two Nights , 1965

Rhythms in Grey and Yellow — Ernst Wilhelm Nay

Rhythms in Grey and Yellow , 1959

Transparent Sculpture I — Louise Nevelson

Transparent Sculpture I , 1967-1968

Transparent Sculpture IV — Louise Nevelson

Transparent Sculpture IV , 1968

Still Life — Ben Nicholson

Still Life , 1945

Ancient Song — Minoru Niizuma

Ancient Song , 1966

Untitled — Georges Noël

Untitled , 1961

Western Highways — Georges Noël

Western Highways , 1968

Conjunción (Conjunction) — Miguel Ocampo

Conjunción (Conjunction) , 1967

No image available,
but we're working on it

Tetsuo Ochikubo

Counterpoint , 1956

Three Loops — Samuel Ogden, Jr.

Three Loops , 1966

Dynasty — Kenzo Okada

Dynasty , 1956

Study #3 — Jerry Tsukio Okimoto

Study #3 , 1957

Mobile Painting #17 — Jerry Tsukio Okimoto

Mobile Painting #17 , 1963

Glace en dégustation (Ice Cream Being Tasted) — Claes Oldenburg

Glace en dégustation (Ice Cream Being Tasted) , 1964

Aton — George Earl Ortman

Aton , 1964

Icon — Hubert Dalwood

Icon , 1958

Office Building — Virginia Cuthbert

Office Building
, 1946

January Afternoon — Virginia Cuthbert

January Afternoon , 1968

No image available,
but we're working on it

Virginia Cuthbert

Phil Painting "Shelocta, PA" , 1943

Monument for a Poet — Hubert Dalwood

Monument for a Poet , 1963

Composition — Horia Damian

Composition , 1957

35-60-W — Nassos Daphnis

35-60-W , 1960

3-61-MT — Nassos Daphnis

3-61-MT
, 1961

4-J30-63 — Nassos Daphnis

4-J30-63 , 1963

Landscape — Allan D'Arcangelo

Landscape , 1968

Study for "The Key" — Alan Davie

Study for "The Key" , 1960

Grey-Blue-Grey — Olivier Debré

Grey-Blue-Grey , 1959

L'Aile (Wing) — Jacques Delahaye

L'Aile (Wing) , 1957

Red Beat 6 — Robyn Denny

Red Beat 6 , 1958

Deep Sleep — Isami Doi

Deep Sleep
, 1960

Painting — Dōmoto Hisao

Painting
, 1958

Solution de continuité (Solution of Continuity) — Dōmoto Hisao

Solution de continuité (Solution of Continuity) , 1966

Habbaku Dancers — Enrico Donati

Habbaku Dancers , 1958

Staremesto I — Piero Dorazio

Staremesto I , 1968

Sea Wind — Saliba Douaihy

Sea Wind , 1966

Bronx Bridge — Seymour Drumlevitch

Bronx Bridge , 1949

Ardeatine Caves — Seymour Drumlevitch

Ardeatine Caves , 1952-1953

Untitled — Kumi Sugai

Untitled , 1954

Aooni — Kumi Sugai

Aooni , 1960

Calm Before the Storm — Kumi Sugai

Calm Before the Storm , 1961

#E-111 — Tadasuke Kuwayama

Untitled (#E-111) , 1969

K-121, Black/White — Paul Talman

K-121, Black/White , 1965

Edge of Place — Reuben Tam

Edge of Place
, 1948

Vendedores de frutas (Fruit Vendors) — Rufino Tamayo

Vendedores de frutas (Fruit Vendors) , 1952

Constructions of Shah Abbas — Antoni Tàpies

Constructions of Shah Abbas , 1950

Painting — Antoni Tàpies

Painting , 1955

The majority of this portrait-oriented canvas is an uninterrupted expanse of matte black. In the bottom third of the canvas, a mixed-media element in shallow relief extends from the left edge. This element appears to have a bumpy, ridged texture in places. There are roughly defined and thinly applied patches of dark yellow-brown paint that appear to overlay the relief element. — Antoni Tàpies

Relief over Black Space , 1958

Tropical Moonlight — Vicente Clavo Gil

Tropical Moonlight , 1952

Zurbale — Joan Josep Tharrats

Zurbale , 1962

Yo Yos — Wayne Thiebaud

Yo Yos , 1963

Large Seated Figure with Chair (Version II) — Leslie Thornton

Large Seated Figure with Chair (Version II) , 1960

Hairdressing, No. 3 — Geoffrey Arthur Tibble

Hairdressing, No. 3
, 1948

Peut-être No. II (Maybe No. II) — Jean Tinguely

Peut-être No. II (Maybe No. II) , ca. 1959

Atmosphère chromoplastique no. 106 (Chromoplastic Atmosphere No. 106) — Luis Tomasello

Atmosphère chromoplastique no. 106 (Chromoplastic Atmosphere No. 106) , 1963

Sui (4 Elementi) 1 — Tomonori Toyofuku

Sui (4 Elementi) 1 , 1964

Between Clouds and Crystals — Heinz Trökes

Between Clouds and Crystals , 1951

Harmonic Sculpture # 11 — Wen-Ying Tsai

Harmonic Sculpture # 11 , 1968

Flower for 1945 — John Tunnard

Flower for 1945
, 1945

Abstract #25 — William Turnbull

Abstract #25 , 1958

Cortez — William Turnbull

Cortez , 1960

No image available,
but we're working on it

Raoul Ubac

Still Life , 1951

No image available,
but we're working on it

Raoul Ubac

Champs (Fields) , 1964

Overgrowth — Günther Uecker

Overgrowth , 1962

Growth — Hans Uhlmann

Growth , 1952

Painting 1959 — Albert Urban

Painting 1959 , 1959

Bright and Black Shining — Piet Ouborg

Bright and Black Shining , 1952

Untitled — Ray Parker

Untitled , 1959

Abstract in Red, No. 3 — Victor Pasmore

Abstract in Red, No. 3 , 1960

Yankee Clipper — Philip Pavia

Yankee Clipper , 1965

Relax, Relax — Henry Pearson

Relax, Relax , 1964

Gandabrod Ball II — Henry Pearson

Gandabrod Ball II , 1965

Chrysalide (Chrysalis) — Alicia Penalba

Chrysalide (Chrysalis) , 1961

Forme abstraite (Abstract Form) — Helen Phillips

Forme abstraite (Abstract Form) , 1967

War/Game — Peter Phillips

War/Game , 1961

Filodendro (Philodendron) — Michelangelo Pistoletto

Filodendro (Philodendron) , 1965

Il Cubo (The Cube) — Arnaldo Pomodoro

Il Cubo (The Cube) , 1962

Passer-Welsh Green — David Prentice

Passer-Welsh Green , 1964

Bird Bath — Abraham Rattner

Bird Bath , 1944

Composition — Serge Rezvani

Composition , 1959

No image available,
but we're working on it

Jean-Paul Riopelle

Composition in White , 1955

Forasteros II (Strangers II) — Josefina Robirosa

Forasteros II (Strangers II) , 1969

Imagined Music — Kurt Roesch

Imagined Music , 1957

Arrival #4 — William Ronald

Arrival #4 , 1960

Sun Ikon — Tony Rosenthal

Sun Ikon
, 1959

Carved "Coco de Mer" — Paul Gauguin

Carved "Coco de Mer" , ca. 1901-1903

Agincourt — Frank Roth

Agincourt , 1958

Winter Plant — Alexander Peter Russo

Winter Plant , 1957

Transformation: Boxes — Lucas Samaras

Transformation: Boxes , 1966-1967

Composition - Blue — Ludwig Sander

Composition - Blue
, 1960

Castilian Earth I — Giuseppe Santomaso

Castilian Earth I , 1959

Composition #10 - Three Lines — Tadashi Sato

Composition #10 - Three Lines , 1957

Retrato 64 (Portrait 64) — Antonio Saura

Retrato 64 (Portrait 64) , 1959

Directory — Salvatore Scarpitta

Directory , 1960

Number 9 — Louis Schanker

Number 9
, 1951

No image available,
but we're working on it

Julius Schmidt

Untitled , 1966

Painting 61-C — Gérard Ernest Albert Schneider

Painting 61-C , 1957

Iwan — Emil Schumacher

Iwan , 1960

Morning — Ethel Schwabacher

Morning , 1957

Nile Valley: Morning — William Scott

Nile Valley: Morning , 1962

Polarity — Peter Sedgley

Polarity , 1966

Souvenir d'Amérique (Souvenir of America) — Kurt Seligmann

Souvenir d'Amérique (Souvenir of America) , 1943

Saturday Afternoon — Zoltan L. Sepeshy

Saturday Afternoon
, 1942

Tsepheej (Cricket) — Jaroslav Serpan

Tsepheej (Cricket) , 1957

Spring — Ben Shahn

Spring , 1947

Southampton — George Kendall Shaw

Southampton
, 1968

Bridge Series: Structure #32 — Dorothy Shea

Bridge Series: Structure #32 , 1962

9/15/59 — Barbara Shivitz

9/15/59
, 1959

Painting Relief — Richard Lin

Painting Relief , 1962

Venus — Carlo Sergio Signori

Venus , 1957

Composition — Mario Sironi

Composition , 1951

Number 4, 1960 — Hassel Wendell Smith, Jr.

Number 4, 1960 , 1960

Structure permutationnelle (Permutational Structure) — Francisco Sobrino

Structure permutationnelle (Permutational Structure) , 1963-1966

Along II — Sasson Soffer

Along II
, 1960

The Tides — Sasson Soffer

The Tides , 1962-1963

Vertical — Francesco Somaini

Vertical , 1959

No image available,
but we're working on it

Gene Vass

Deux Personages (Two Persons) , 1957

Eleventh Street — Gene Vass

Eleventh Street , 1960

Bathers by a Grey Sea — John Keith Vaughan

Bathers by a Grey Sea
, 1947

No image available,
but we're working on it

Alberto Viani

Chimera , 1962

Focos de luz (Focus of Light) — Miguel Angel Vidal

Focos de luz (Lightbulbs) , 1969

Fall of Related Objects (Tribute to Charles Forte) — Martha Visser't Hooft

Fall of Related Objects (Tribute to Charles Fort) , 1948

Untitled — Wakita Aijiro

Untitled , 1967

Reflection — Idelle Weber

Reflection , 1962

George Washington and Three Indians — John Wesley

George Washington and Three Indians , 1963

Still Life #20 — Tom Wesselmann

Still Life #20 , 1962

Change Game — John Willenbecher

Change Game , 1964

Metro — James N. Wines

Metro , 1962

Composition in Red and Blue — Fritz Winter

Composition in Red and Blue , 1953

Within Space — Fritz Winter

Within Space , 1954

Eva Plus Five — Dick Wray

Eva Plus Five , 1962

Incantation — Ernst Van Leyden

Incantation
, 1961

Roundabout — Jack Youngerman

Roundabout , 1970

Acceleration #15, Series B — Jean-Pierre Yvaral

Acceleration #15, Series B , 1962

Gloucester Alley — Karl Zerbe

Gloucester Alley
, 1943

Amagansett Summer — Kyle Morris

Amagansett Summer , 1959

Number 22 -1968 — Peter Ford Young

Number 22 -1968 , 1968

This horizontally expansive, wooden sculpture sits on a narrow base atop a small flat black square. Multiple horizontal and vertical layers of wood are joined and sanded smooth, revealing different colors and knots of the grain. A low horizonal rectangular shape juts far out on the left side, and gradually getting narrower. A cube-like structure with vertical layers protrudes out from the center of the sculpture and to the right. — Gabriel Kohn

Pitcairn , 1958

Fallen Pine, Camp Island — William Austin Kienbusch

Fallen Pine, Camp Island , 1955

Improvisation — Peter Grippe

Improvisation
, 1944

Preo — Jean-Paul Riopelle

Preo , 1964

Salut le nord, salut le sud (Greet the North, Greet the South) — Pierre Alechinsky

Salut le nord, salut le sud (Greet the North, Greet the South) , 1962

Untitled — Asger Jorn

Untitled , 1961

Wachstum (Growing) — Willi Baumeister

Wachstum (Growing) , 1952

Our Lady of All Protections — Richard Peter Stankiewicz

Our Lady of All Protections , 1958

Untitled — Lee Bontecou

Untitled , 1960

The overall shape of this wall-mounted sculpture is similar to the outline of the island of Manhattan as it might appear on a map. The sculpture is made up of roughly thirty-five beige, tan, brown, and gray bags stacked together. These bags are shaped and positioned to mirror the outlines of the city’s postal zones. — Claes Oldenburg

Soft Manhattan #1 (Postal Zones) , 1966

Four Quart-er-s — Mary Bauermeister

Four Quart-er-s , 1965

Sacra Conversazione (Holy Conversation) — Michelangelo Pistoletto

Sacra Conversazione (Holy Conversation) , 1963

Cinema — George Segal

Cinema , 1963

Lecteur I.K.B. 1960 (No. 2) — Yves Klein

Lecteur I.K.B. 1960 (No. 2) , 1960

Lecteur I.K.P. 1960 — Yves Klein

Lecteur I.K.P. 1960 , 1960

Soap Bubble Set (Ostend Hotel) — Joseph Cornell

Soap Bubble Set (Ostend Hotel) , ca. 1958

A large playful sculpture made of thin sheets of black metal forming a partially open cone that stands on its circular base. A thin metal rod is balanced across the cone’s pointed top. Numerous interconnected wires and rods, each of which ends in a small white metal circle, hang from one side of the rod. The weight of the many wires and circles on one side of the central rod is counterbalanced and held in equilibrium by a single red circle on the rod’s other end. — Alexander Calder

The Cone , 1960

Conger — Alexander Calder

Conger , 1950

Mindanao — Victor Vasarely

Mindanao , 1952-1955

Bora III — Victor Vasarely

Bora III , 1964

A bright yellow cow, seen from the rear, sits in a grassy field on the left side of this horizontally oriented canvas. On the right, a reddish path leads into a dense woodland, and above the cow on the left, a narrow rectangle of pink sky emerges behind rolling green hills. Short red flowers are visible in the foreground, and a single, scraggly tree juts out of the ground in the upper-left corner. The colors are soft and bright, suggesting a warm, sunny day. — Milton Avery

Bucolic Landscape , 1945

Avvenimento #103 (Event #103) — Edmondo Bacci

Avvenimento #103 (Event #103) , 1955

Blanar — Olle Bærtling

Blanar , 1953

XIH — Olle Bærtling

XIH , 1966

Harbor View # 1 — Walter Darby Bannard

Harbor View # 1
, 1970

Caprice — Leonard Baskin

Caprice , 1963

Untitled — Larry Bell

Untitled , 1964

No image available,
but we're working on it

Ernst Benkert

Overlap #4 , 1967

Torso of a Girl — Ahron Ben-Shmuel

Torso of a Girl , 1944

Malanggan I — Hubert Berke

Malanggan I , 1959

Untitled — Harry Bertoia

Untitled , 1953

Sculptural Screen — Harry Bertoia

Sculptural Screen
, 1961

Untitled No. 9 — Jakob Bill

1970 no.9 , 1970

Continuous Surface in Form of a Column — Max Bill

Continuous Surface in Form of a Column , 1953-1958

Neun Felder durch Doppelfarben geteilt (Nine Fields Divided by Means of Two Colors) — Max Bill

Neun Felder durch Doppelfarben geteilt (Nine Fields Divided by Means of Two Colors) , 1968

No image available,
but we're working on it

Renato Birolli

Cose rurali (Things of the Land) , 1954

No image available,
but we're working on it

Carol Blanchard

Vainglory

, 1944

Painting 1957 — Sandra Blow

Painting 1957 , 1957

Haute Claire — Norman Bluhm

Haute Claire , 1963

La Chute (The Fall) — Bram Bogart

La Chute (The Fall) , 1957

Bemo — John E. Drummer

Bemo , 1959

Chemin bordé d'herbe (Path Bordered by Grass) — Jean Dubuffet

Chemin bordé d'herbe (Path Bordered by Grass) , 1956

Painting 1960-D — Edward Dugmore

Painting 1960-D , 1960

No image available,
but we're working on it

Alfred Dunn

Echoes , 1968

Shelocta, Pa. — Philip Clarkson Elliott

Shelocta, Pa. , 1943

Flame Shaft — Philip Clarkson Elliott

Flame Shaft , 1968

The Chant — Jimmy Ernst

The Chant , 1955

Lumière (Light) — Jimmy Ernst

Lumière (Light) , 1968

Dunes with Ray of Light, II — Lyonel Feininger

Dunes with Ray of Light, II , 1944

No image available,
but we're working on it

Luis Feito López

Luminary I , 1959

Concetto spaziale, Attese (Spatial Concept, Waiting) — Lucio Fontana

Concetto spaziale, Attese (Spatial Concept, Waiting) , 1960

Natura I — Lucio Fontana

Natura I , 1961

Blue-Black — Sam Francis

Blue-Black , 1952

Untitled — Sam Francis

Untitled , 1956

No image available,
but we're working on it

Donald Hamilton Fraser

Table and Flowers with Deck Chairs , 1958

Landscape — Arnold Aaron Friedman

Landscape
, ca. 1946

Violette Interferenzen im Rot (Violet Interferences into Red) — Günter Fruhtrunk

Violette Interferenzen im Rot (Violet Interferences into Red) , 1968

Figure 2 "Mar" — Franco Garelli

Figure 2 "Mar" , 1958

Winter Stone — Lee Gatch

Winter Stone , 1966

Phantom Landscape — William Gear

Phantom Landscape , 1960

No image available,
but we're working on it

Klaus Geissler

Facteur Rhésus , 1963

Lens Picture No. 15 — Karl Gerstner

Lens Picture No. 15 , 1964

Night — Frank Di Gioia

Night
, 1960

Summer House — Michael Goldberg

Summer House , 1958

The Struggle — Robert Arthur Goodnough

The Struggle , 1957

Frozen Sounds II — Adolph Gottlieb

Frozen Sounds II , 1952

Presence of Black No. 1 — José Guerrero

Presence of Black No. 1 , 1958

Morning — Philip Guston

Morning , 1959

Shields IV — Dimitri Hadzi

Shields IV , 1959-1961

Polychromatic Diffraction (Diffraction Polychrome) — Jean-Pierre Yvaral

Polychromatic Diffraction (Diffraction Polychrome) , 1970

Iridescence — Richard Joseph Anuszkiewicz

Iridescence , 1965

9 boules sur 5 plans (9 Balls on Five Planes) — Pol Bury

9 boules sur 5 plans (9 Balls on 5 Planes) , July 1964

Untitled B 133 — Tadasuke Kuwayama

Untitled (#B-133) , 1964

Cocktail au Cheval (Cocktail on Horseback) — Jean Tinguely

Cocktail au Cheval (Cocktail on Horseback) , 1966

Free Standing Painting — Yaacov Agam

Free Standing Painting , 1971

The Ninth Power — Yaacov Agam

The Ninth Power
, 1970-1971

Peristyle: Five Lines — George Rickey

Peristyle: Five Lines , 1963-1964

Coming and Going — Mark Tobey

Coming and Going
, 1970

Red Man-White Man-Black Man — Mark Tobey

Red Man-White Man-Black Man , 1945

Twenty-eight stripes of different colors and widths run the width of this horizontally oriented painting. The very clearly defined bands are separated by pencil-thin stripes of unpainted canvas. While the colors used vary, they are mostly distinct hues of red, green, and blue. — Kenneth Noland

Wild Indigo , 1967

Painting with Red Letter S — Robert Rauschenberg

Painting with Red Letter S , 1957

Ace — Robert Rauschenberg

Ace , 1962

Fez — Frank Stella

Fez , 1964

Lac Laronge III — Frank Stella

Lac Laronge III , 1969

New York, NY — Ellsworth Kelly

New York, NY , 1957

Second Tremor — Jules Olitski

Second Tremor , 1969

The front-facing, red, gold, and white labels of one hundred cans of Campbell’s Condensed Beef Noodle Soup fill this vertically oriented canvas. The cans are organized in a tight grid of ten rows and ten columns. The bottoms of the last row of cans are cut off so that only the upper halves of these cans are visible. — Andy Warhol

100 Cans , 1962

Scarlet Diamond — Ilya Bolotowsky

Scarlet Diamond , 1969

Untitled — Ludwig Sander

Untitled , 1963

First Theme — Burgoyne Diller

First Theme , 1963-1964

Blue, Yellow and Red — Ellsworth Kelly

Blue, Yellow and Red , 1968

Yellow Half — Kenneth Noland

Yellow Half , 1963

Column — Robert Adams

Column , 1961

Tall Spike Form — Robert Adams

Tall Spike Form , 1957

Triangulated Column — Robert Adams

Triangulated Column , 1960

Réception automnale (Autumn Reception) — Paul Emile Borduas

Réception automnale (Autumn Reception) , 1953

Interférences Optiques (Optical Interferences) — Martha Boto

Interférences Optiques (Optical Interferences) , 1965

Secuencias No. 1 — Ary Brizzi

Secuencias No. 1 , 1969

Gant — James Brooks

Gant , 1955

Husserlienne — Jacques Brown

Husserlienne , 1959

Things Fussing Around the Moon — Joan Brown

Things Fussing Around the Moon , 1959

Bianco 1955 — Alberto Burri

Bianco 1955 , 1955

Manipulator — Reg Butler

Manipulator , 1954

Pacific Series, No. IX - Sierra — Lawrence Calcagno

Pacific Series, No. IX - Sierra , 1955

Lumière aeolienne (Aeolian Light) — Manolis Calliyannis

Lumière aeolienne (Aeolian Light) , 1957

Relief No. 278 — Sérgio de Camargo

Relief No. 278 , 1970

Capricorno — Andrea Cascella

Capricorno , 1964

The Black Fish — Bruno Cassinari

The Black Fish
, 1951

Untitled — Giorgio Cavallon

Untitled , 1956

Untitled — Francis Michael Celentano

Untitled , 1964

Kinetic Painting III — Francis Michael Celentano

Kinetic Painting III , 1967

Two Dancing Figures — Lynn Russell Chadwick

Two Dancing Figures , 1954

The Flying Fish — Marc Chagall

The Flying Fish , 1948

No image available,
but we're working on it

Chryssa

Letter "T" , 1959

The Gates to Times Square — Chryssa

The Gates to Times Square
, 1966

Woman in Black — Nicolai Cikovsky

Woman in Black , 1945

Unités (Unities) — Geneviève Claisse

Unités (Unities) , 1970

Minoan Light — Calvert Coggeshall

Minoan Light
, 1970

Ferro transparente, lilla (Transparent Iron, Lilac) — Pietro Consagra

Ferro transparente, lilla (Transparent Iron, Lilac) , 1966

Revolving Table — Xavier Corberó

Revolving Table , 1965

Beyond Words — Antonio Corpora

Beyond Words , 1958

Diver — John Graham Coughtry

Diver , 1963

From the Sea — Rollin McNeil Crampton

From the Sea , 1958

Number 2 — Rollin McNeil Crampton

Number 2 , 1963

Number 3 — Rollin McNeil Crampton

Number 3 , 1963

Boat on the Beach — Leonardo Cremonini

Boat on the Beach , 1951

Mount Marion Walnut — Raoul Hague

Mount Marion Walnut , 1952-1954

Livia — Étienne Hajdu

Livia , 1968

Seated Woman — David Hare

Seated Woman , 1958

T 1951-3 — Hans Hartung

T 1951-3 , 1951

T55-28 — Hans Hartung

T55-28 , 1955

Untitled — David Hatchett

Untitled
, 1971

B/WX — Al Held

B/WX , 1968

Curved Form — Barbara Hepworth

Curved Form , 1956

Three Standing Forms — Barbara Hepworth

Three Standing Forms , 1964

Untitled — Edward Higgins

Untitled , 1959

Acropolis — Charles B. Hinman

Acropolis , 1965

No image available,
but we're working on it

Gottfried Honegger

Saugus , 1960

Tree Landscape — Ivon Hitchens

Tree Landscape
, not dated

Archon — Rudolf Hoflehner

Archon , 1956

No image available,
but we're working on it

Rudolf Hoflehner

Agon , 1959

Z-611 — Gottfried Honegger

Z-611 , 1970

Summer Day 57 — Philippe Hosiasson

Summer Day 57 , 1957

Composition — Philippe Hosiasson

Composition , 1960

No. 42.10.11.61 — John Hoyland

No. 42.10.11.61 , 1961

Italian Journey — John Hultberg

Italian Journey , 1954

Icarus — Richard Howard Hunt

Icarus , 1956

Untitled No. 104 — Paul Huxley

Untitled No. 104
, 1969

The Day the Rains Came Down — Gwyther Irwin

The Day the Rains Came Down , 1959

Bedford Heights — Gwyther Irwin

Bedford Heights , 1964

The Archer — Paul Jenkins

The Archer , 1955

Untitled — Robert Irwin

Untitled , 1962-1963

Untitled — Tadaaki Kuwayama

Untitled , 1961

Hudson River School Series #30 — James Jarvaise

Hudson River School Series #30 , 1957

The Great Mystery II — Alfred Jensen

The Great Mystery II , 1960

Bronze Star — Howard Jones

Bronze Star , 1967

Blue on Blue and Beyond — Morris Kantor

Blue on Blue and Beyond
, 1966

Saint Pierre of Rome — Constantin Karahalios

Saint Pierre of Rome , 1963

Untitled — Craig Kauffman

Untitled , 1966

No image available,
but we're working on it

Kawabata Minoru

Green Curve , 1967

Couleur-douleur (Color-Sadness) — Zoltan Kemeny

Couleur-douleur (Color-Sadness) , 1960

Patina — György Kepes

Patina , 1959

No image available,
but we're working on it

Frederick John Kiesler

Birth of a Lake , 1960-1964

Sleeping Figure — Peter Kinley

Sleeping Figure , 1958

Directional I — Lyman Kipp

Directional I , 1962

Number Zero - Adam — Karl Knaths

Number Zero - Adam , 1948

Cylindre à trois pattes (Cylinder with Three Paws) — Harry Kramer

Cylindre à trois pattes (Cylinder with Three Paws) , 1964

Untitled — Tadaaki Kuwayama

Untitled , 1961

Construction 31 - II — Leroy Lamis

Construction 31 - II , 1965

Lulworth — Peter Lanyon

Lulworth , 1956

Sky — Peter Lanyon

Sky , 1956

Theme and Variations #1 — Ibram Lassaw

Theme and Variations #1 , 1957

No image available,
but we're working on it

Ibram Lassaw

Cytherea

, 1964

Icarus — Ger Lataster

Icarus , 1957

Departing from Red — Ger Lataster

Departing from Red , 1961

Red Window — Phillip B. Leavitt

Red Window
, 1960

The Collector — Charles Le Clair

The Collector
, 1944

Country Wedding — Doris Lee

Country Wedding , 1942

Summer — Doris Lee

Summer , 1958

Instabile-continuel lumière (Unstable-continual Light) — Julio Le Parc

Instabile-continuel lumière (Unstable-continual Light) , ca. 1962

Soldier's Medal — Alfred Leslie

Soldier's Medal , 1959

Couleur-douleur (Color-Sadness) — Zoltan Kemeny

Couleur-douleur (Color-Sadness) , 1960

Simurgh — Josef Levi

Simurgh , 1965

#169 — Kurt Lewy

#169 , 1959

Iota III — Alexander Liberman

Iota III , 1961

No image available,
but we're working on it

Verena Loewensberg

Untitled No. 1 , 1969-1970

Egypt — Sven Lukin

Egypt , 1965

Grass — Len Lye

Grass , 1965

Still Life — Robert MacBryde

Still Life
, 1948

Pintura generativa (Generative Painting) — Eduardo Macentyre

Pintura generativa (Generative Painting) , 1969

Peinture (Painting) — Jean McEwen

Peinture (Painting) , not dated

Night Shadows — Loren MacIver

Night Shadows
, 1961

White Light Dynamo — Heinz Mack

White Light Dynamo , 1964

Simona — Heinz Mack

Simona , 1965

Zig-Zag — Heinz Mack

Zig-Zag , 1965

Monument of Mirrors — Heinz Mack

Monument of Mirrors , 1966

Pintura (Painting) — Victor Magariños

Pintura (Painting) , 1965

Black and White — Karel Malich

Black and White , 1964-1965

Apothecary — Robert Mallary

Apothecary , 1960

No image available,
but we're working on it

Edgardo Mannucci

Idea No. 16, 1958 , 1958

Beach Stand — Conrad Marca-Relli

Beach Stand , 1949

Freya — Gerhard Marcks

Freya , 1949

From Elements of Evening — Boris Margo

From Elements of Evening , 1957

Acrobats and Horse — Marino Marini

Acrobats and Horse , 1951

Baby Girl — Marisol

Baby Girl , 1963

Piazza — Jack Massey

Piazza , 1960

Dans la forêt (In the Forest) — André Masson

Dans la forêt (In the Forest) , 1944

Pour une aliénation définitive du logos (For the Definitive Alienation of Logos) — Georges Mathieu

Pour une aliénation définitive du logos (For the Definitive Alienation of Logos)
, 1955

First Avenue — Georges Mathieu

First Avenue , 1957

Startled Bird — Bernard Meadows

Startled Bird , 1955

No image available,
but we're working on it

Victor Millonzi

Standing Blue , 1966

Chimera — Mirko

Chimera , ca. 1953-1960

Caucus Room — Benjamin Moncloa

Caucus Room , 1965

No image available,
but we're working on it

Henry Moore

Mother and Child , 1959

Two-Piece Reclining Figure No. 4 — Henry Moore

Two-Piece Reclining Figure No. 4 , 1961

Oval with Points — Henry Moore

Oval with Points
, 1968

An abstract arrangement of broad black brushstrokes appears against a mostly solid white background. One stroke extends from the top to bottom of the painting along its right edge and another two of similar length appear near the left edge. Other, shorter strokes extend horizontally and diagonally among these vertical elements. The black lines could resemble in outline the type of buildings and bridges that populate New York City’s skyline. — Franz Kline

New York, N.Y. , 1953

East Barrier — Jack Tworkov

East Barrier , 1960

Cooba — James Brooks

Cooba , 1963

In the Forest — Richard Pousette-Dart

In the Forest , 1957

Large, energetic brushstrokes in green, brown, black, red, blue, and white cover portions of this abstract painting’s white background. These marks are primarily concentrated in two areas: in the top half of the canvas, especially in the center, and on its lower edge, especially in the center and toward the right corner. — Joan Mitchell

George Went Swimming at Barnes Hole, but It Got Too Cold , 1957

Four short oxidized steel legs elevate a small, taupe-colored rock a couple inches off the ground. Additional lengths of oxidized steel extend either vertically or in a trapezoidal shape above the rock. Several additional abstract steel elements are attached to this framework, including one that looks like an origami crane and another at the very top of the sculpture that looks like a bird in flight with its head pointed toward the ground. — David Hare

Sunrise , 1954-1955

Cigarette — Tony Smith

Cigarette , 1961-1967

Diamond—#I of III — Antoni Milkowski

Diamond—#I of III
, 1967

Georgiana — Anthony Caro

Georgiana , 1969-1970

Bond — Alexander Liberman

Bond , 1969

Zig-Zag — Beverly Pepper

Zig-Zag , 1967

Big Red — James Rosati

Big Red , 1970-1971

Bronze-colored, jagged vertical forms grouped together appear to balance on top of a small, square, stone base. The majority of the sculpture extends to the right, narrowing to a sharp point resembling the tip of a spear. Five jagged tips point upward, and three on the right side point down. Each section is angular, casting dark shadows throughout the sculpture, and the bumpy surface throughout adds an aged, or patina-like appearance. — Seymour Lipton

Sea King , 1955

Mars and Venus — Reuben Nakian

Mars and Venus , 1959-1960

Japanese War God — Eduardo Luigi Paolozzi

Japanese War God , 1958

Blue Painting — William Scott

Blue Painting , 1960

Walter Lippmann — R. B. Kitaj

Walter Lippmann , 1966

Thorn Trees — Graham Vivian Sutherland

Thorn Trees , 1945

Internal and External Forms — Henry Moore

Internal and External Forms , 1953-1954

Reclining Figure No. 1 — Henry Moore

Reclining Figure No. 1 , 1959

The gently curving contours of this white marble sculpture suggest a head, shoulders, and hips. The slim vertical form stands on top of and is contiguous with a cylindrical base. — Jean (Hans) Arp

Sculpture classique (Classical Sculpture) , 1964

Baigneuse jouante (Female Bather Playing) — Pablo Picasso

Baigneuse jouante (Female Bather Playing) , 1958

Man Walking (Version I) — Alberto Giacometti

Man Walking (Version I) , 1960

La Fleur qui marche (The Walking Flower) — Fernand Léger

La Fleur qui marche (The Walking Flower) , 1951

Construction dans l'oeuf (Construction in the Egg) — Antoine Pevsner

Construction dans l'oeuf (Construction in the Egg) , 1948

Standing Cardinal — Giacomo Manzù

Standing Cardinal , 1957

Borne au logos VII (Milestone to Logic VII) — Jean Dubuffet

Borne au logos VII (Milestone to Logic VII) , 1967