Curator

  • Art Institute Chicago
  • Harvard art museum
  • My Exhibition
Several nude people, each with a different skin hue, relax languidly underneath trees in a rural landscape. The shapes in this painting are simplified, soft. But overall they remain recognizable. Looking upward—toward the background—an oval-shaped portal in the tree copse opens toward a pink mirage. An unconcerned, utopian group, but in somber colors.

The Drying After, 1961

Bob Thompson

Warm-yellow and cool-blue curved shapes suggest a desertscape. On the right, oval blobs stack between brown stick structures.

Revolt in the Desert, 1963

Miyoko Ito

Jewel-like hummingbird specimens, banded with white, laid in a box. The lid, labeled "Eucalol," floats up against the muted brown background of this painting.

Eucalol, 1977

Ellen Lanyon

Sharp white lines inscribe a heavy black slab, implying a kind of screenwork person: flat, sharp, a little silly. A soft cloth floats over the figure's "abdomen." On it, two white owls contrast sharply with their soft, luminous featheriness.

Human Figure with Two Birds, 1925/29

Max Ernst

A work made of painted plaster.

Bust of Pierre François Leonard Fontaine, 1839

Louis Messidor Lebon Petitot

Circles and lines form shapes of trees, with leaves and trunks. Looking up to see a perfect cross in nature. Streaming clouds form diagonal pinstripes overhead.

Cloudy Night, a Picture That Can Be Hung Upside Down, 1978

Roger Brown

A work made of painted plaster.

Bust of Charles Percier (1764-1838), 1838

Louis Messidor Lebon Petitot

A dramatically skewed perspective captures mostly sky and a red-fruited tree in paint. A tilted, unresolvable view of a blue hill, or maybe a tree-topped walled garden, with black triangular voids at the corners of the frame. A tiny figure, a motif of squares.

Correct Me If I'm Wrong, 1999

Amy Sillman

Ghostly white face formed by a winding line, creating forehead wrinkles, nose, chin. Droopy eyes and a small black heart.

In the Magic Mirror, 1934

Paul Klee

Painting of a bare-limbed tree with tall branches superimposed upon a squat evergreen. A smooth, misty-vacant background. Soft, flat green peeks from behind hard upturned limbs.

The Maple Tree with Pine, 2005

Sylvia Plimack Mangold

Warm colors everywhere. Wet-sand beige, blood red. A big, gestural, light-blue wave crashes in the middle to reveal an old witch's pointy hat.

Blue Note, 1982

Judith Godwin

The full moon casts a beam of light across an expansive body of water. Dark shapes in the foreground—two spindly trees intersected by a crossbar and slanted bank—frame the scene and divide it into six panes. Pale gray sky and gray-blue water bleed into each other at the horizon line.

Luna Park, 1960

Alex Katz

Portrait in profile overlaid with purple printed patterns. This screen blocks some light, distorting image, reducing detail.

Passing Through the Opposite of What It Approaches, Chapter 25 (Portrait of Anne Rorimer), 2012

R. H. Quaytman

Earthenware covered jar with luster white decoration of foliage on a silver background.

Jar, c. 1820

A work made of lead-glazed earthenware with lustre decoration.

Jar, 1810/20

A work made of etching on cream china paper.

Keying Up, c. 1885

William Merritt Chase

A work made of pen and black ink with oval of graphite, on ivory wove paper.

Two Female Heads, n.d.

William Merritt Chase

A work made of oil on canvas.

North River Shad, c. 1910

William Merritt Chase

A work made of charcoal on cream wove paper.

Hand Holding a Lump of Sugar to a Parrot, n.d.

William Merritt Chase

A work made of oil on canvas.

Alice, 1892

William Merritt Chase

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