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On View

This realistic and atmospheric image of an Italian coastal landscape features a lone sailboat on a bright sunlit horizon, jagged mountains forming the edge of a bay, three misty rock stacks rising out of the sea in the distance, and men and women in the foreground gathered around fishing boats and nets on a golden sandy shore. Large fluffy clouds fill the sky, darkening the beach and first mountain peak on the left of the bay. — Albert Bierstadt

The Marina Piccola, Capri , 1859

The Marvelous Sauce — Jehan Georges Vibert

The Marvelous Sauce , ca. 1890

This abstracted portrait of woman’s head and neck sits on a light grey stone cube. Its polished bronze surface is highly reflective. The head is an elongated egg shape, and its features are highly simplified and stylized. Two deeply cut arches, which meet at a sharp point at the bottom center of the head, define the woman’s dramatic brow line and her eyelids. A teardrop form extending from the left side of the face suggests a hand resting against her cheek. — Constantin Brancusi

Mademoiselle Pogany II , 1920

Beyond the edge of a window shutter on the right side of the painting unfolds a street scene along the Seine river. Multiple figures walk on the roads along each side of the river and over a bridge. The contours of Notre Dame Cathedral dominate the upper right quadrant. The painter suggested a hazy atmosphere by painting the scene in broad and loose brushstrokes of muted blues, purples, pinks, greens, and browns. — Henri Matisse

Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon) , 1902

In this tall, narrow portrait, painted with loose, energetic brush strokes, a young man wearing a deep red uniform with matching cap stands in front of a dark burgundy, gray, green, and blue background. A row of gold buttons extends down the front of the boy’s jacket. His right hand is by his side, palm facing out, and his left hand is clenched in front of his waist. The figure’s dark eyes, hair, and moustache stand out again his pale skin. — Chaïm Soutine

Page Boy at Maxim's , ca. 1927

Nude Figure — Pablo Picasso

Nude Figure , late spring 1910

Danseuse au café (Dancer in a Café) — Jean Metzinger

Danseuse au café (Dancer in a Café) , 1912

Figure Study — Max Weber

Figure Study , 1911

L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] — Alberto Giacometti

L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] , 1934 (cast executed 1935)

Soleil, tour, aéroplane (Sun, Tower, Airplane) — Robert Delaunay

Soleil, tour, aéroplane (Sun, Tower, Airplane) , 1913

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) , 1912

This portrait focuses on the artist’s face. She has slightly-pursed, full crimson lips and dark brown eyes and hair, which is elaborately braided with emerald green ribbon. Her complexion is earthen, terracotta. She wears a simple white blouse and a choker of bones and shells. Her eyebrows knit together above her nose as a single defining feature. A black and grey monkey on a green leash peers over her right shoulder. They appear amid lush green vines before an indigo sky. — Frida Kahlo

Self-Portrait with Monkey , 1938

Unusual objects and geological forms fill this curious landscape. In the foreground, a desert-like expanse of yellow is bordered with dark shadows along its bottom and right edge. A series of chocolate brown mountains border its top edge. A portion of a woman’s head is nearly camouflaged against the right-most mountain. A piece of crumpled white fabric sits in the middle of the scene. Above it is a white spoon-like shape that appears to hold another mountain. — Salvador Dalí

The Transparent Simulacrum of the Feigned Image , 1938

Symphony Orchestra — Man Ray

Symphony Orchestra , 1916

Le feu d'artifice (Fireworks) — James Ensor

Le feu d'artifice (Fireworks) , 1887

A square of fluorescent tube lights mounted in white aluminum fixtures sits on the floor in front of a corner of the gallery space. The lights that make up the top and the bottom of the frame shine bright blue light outward. The lights that make up the right and left of the frame cast yellow and pink light into the corner behind the sculpture. — Dan Flavin

untitled (to Donna) 6 , 1971

Rounded biomorphic forms fill the majority of this painting. Those at upper left are blue, those in the bottom half are cream, those at the base and upper right are turquoise, and a sliver of lilac is wedged between dark blue and turquoise forms at top center. Two black diagonal stripes overlap in the center of the picture’s upper half and are held within a pistil-like, white form tinged rose that rises diagonally from the lower right. — Georgia O'Keeffe

Black Spot No. 3 , 1919

Four dark gray spheres of varying sizes, grouped tightly together, float in a dark gray sky above the black silhouettes of mountains. White circular highlights on the top halves of three of the spheres suggest a distant light source. The spheres appear to be made of metal, and the smooth surface of each sphere is only interrupted by a deep black cut along its equator. — René Magritte

La Voix des airs (The Voice of Space) , 1928

Untitled (#418) — Gerhard Richter

Untitled (#418) , 1977

Untitled (The Buffalo Installation) — Jenny Holzer

Untitled (The Buffalo Installation) , 1991

Multiplied — Philip Guston

Multiplied , 1972

An upside-down, loosely painted image of a seated woman fill this vertically oriented painting. The woman’s face, near the bottom center of the canvas, is quite legible, but her form progressively becomes more abstract toward her feet at the upper right of the canvas. The confident, gray strokes that define her outline are filled with white and occasional rose hues; the background is also predominately white. — Georg Baselitz

Elke-Akt 2 , 1976

look and see — Jim Hodges

look and see , 2005

This photograph captures two walls, which meet in a corner toward the left edge, covered in a black graphite. The walls are divided into large rectangular planes, each of which is darkest at its edges and gradually becomes lighter toward the center, creating the illusion of a curving surface catching the light. A vast number of hand-drawn scribbles make up these forms. The two walls surround a staircase; a small portion of the second-story landing is visible on the right edge. — Sol LeWitt

Wall Drawing # 1268: Scribbles: Staircase (AKAG) , conceived 2006 (executed 2010)

Karma — Do Ho Suh

Karma , 2010