Paul Getty Museum, Los Angeles) [fig3] and the Standard Bearer (Allentown Art Museum
One of the leading artists of the post–Johns/Rauschenberg generation, Terry Winters wields his brush with a knowledge and conviction that make periodic talk of the death of painting seem empty. Bitumen , 1986, is a work from the first decade of his career—when Winters was exploring such basic natural processes as crystal formation, fungal growth, and (as in this canvas) cellular division, and when he was equally immersed in the natural history of painting itself.
Washington, D.C., 1987. 1991 Terry Winters, The Museum of Contemporary Art, Los
Bellevue, Washington; The Bronx Museum of the Arts; California Afro-American Museum, Los
Painted in 1960, at the height of Milton Avery’s career, Mountain and Meadow is one of the artist’s finest late works. The initial inspiration to depict this scene occurred in the summer of 1955, when Avery and his family stayed at the Yaddo artists’ colony near Saratoga Springs, New York.
, West Palm Beach; UCLA at the Armand Hammer Museum of Art and Cultural Center, Los
Bellows executed Nude with Hexagonal Quilt at his studio in Woodstock, New York, in July 1924 at the age of forty-one. He had been an avid practitioner of life drawing since his early student days at the New York School of Art under the tutelage ofÂ
Los Angeles County Museum of Art; Whitney Museum of American Art, New York; Columbus
entry on page 17 of Commission Book 4, Knoedler Records, Getty Research Institute, Los
Wildenstein’s (Duveen Brothers Records, accession number 960015, Getty Research Institute, Los
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
A striking young woman—with loose, untied hair and sleeves and a richly jeweled but informal gown—returns the viewer’s gaze. In her time, a viewer would have seen her as being in a state of semiundress.
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
Berkeley and Los Angeles, 1969: 117. 1970 Lane, Barbara G.
