In her youth, Georgia O’Keeffe had been particularly fascinated by the jack-in-the-pulpit. In 1930, she executed a series of six paintings of the common North American herbaceous flowering plant at Lake George in New York.
Institute of Chicago; Dallas Museum of Art; The Metropolitan Museum of Art, New York; Los
Knoedler and Co. records, Getty Research Institute, Los Angeles (copies NGA curatorial
Before establishing himself as a pioneering member of the dada movement during and after World War I, Picabia experimented with various forms of modernist painting. Procession, Seville belongs to a group of works from 1912 in which the artist demonstrates a sophisticated and highly idiosyncratic assimilation of recent developments in cubism and futurism.[1] Fragmented planes, shallow space, and an allover pattern of flickering lights and darks are all associated with the analytic cubism of Pablo Picasso and Georges Braque;
Toronto; Detroit Institute of Arts, 1970, no. 23, repro. 1971 The Cubist Epoch, Los
Johns has long been concerned with the visual and conceptual act of decoding. His various manners of painting and drawing, for example, frequently result in a congested accumulation of marks or signs, while his materials include encaustic (a thick, quick-drying wax medium that allows for a visible layering of brushstrokes) as well as objects that have been mounted on the canvas in the manner of assemblage and collage.
Something Resembling Truth’, Royal Academy of Arts, London; The Broad Museum, Los
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
Around Impressionism: French Paintings from the National Gallery of Art, Los Angeles
When Approach to Venice was first exhibited in 1844, Joseph Mallord William Turner quoted Lord Byron in the catalog description: “The moon is up, and yet it is not night / The sun as yet disputes the day with her.� In Turner’s colorful view of Venice, a full moon shares the sky with the setting sun as a flotilla of barges and gondolas makes its way across the lagoon.
Paul Getty Museum, Los Angeles; Fine Arts Museums of San Francisco, 2014-2015, no
No one parties like the gods—at least not like the mythological ones in this painting, a collaboration by the Renaissance artists Giovanni Bellini and Titian. The picture was the first in a series of bacchanals commissioned by Duke Alfonso d’Este to decorate the camerino d’alabastro (alabaster study) of his castle in Ferrara.
Paul Getty Museum, Los Angeles, 1998-1999. New York, 1998: 30, fig. 18, 31.
Records, accession number 960015, Research Library, The Getty Research Institute, Los
, selling the painting in 1937 (Research Library, The Getty Research Institute, Los
