European Collection

In Braque's Girl with a Cross, the head (or rather its disembodied details) emerges like an apparition amid a rich interplay of highlighted and shaded facets, thinly scumbled and atmospheric in mood.
Girl with a Cross
Girl with a Cross
In Braque's Girl with a Cross, the head (or rather its disembodied details) emerges like an apparition amid a rich interplay of highlighted and shaded facets, thinly scumbled and atmospheric in mood.

Girl with a Cross

Georges Braque

French (1882–1963)

20th century

1911
Oil on canvas
21 5/8 x 16 15/16 in. (55 x 43 cm)
AP 1989.02

Beginning in late 1907, Braque and his new acquaintance Pablo Picasso began to paint objects as highly simplified geometric forms, expressing solidarity with the most idiosyncratic tendencies in the art of Cézanne—especially that of putting together unaligned observations of adjacent parts.

Man with a Pipe
Man with a Pipe

Man with a Pipe

Pablo Picasso
Spanish (1881–1973)
20th century
1911
Oil on canvas
35 11/16 x 27 15/16 in. (90.7 x 71 cm) Framed: 44 1/2 x 37 1/2 x 2 1/2 in. (113 x 95.3 x 6.4 cm)
AP 1966.08
In early July 1911, Picasso left Paris for Céret, a small town in southwestern France, near the Spanish border. Braque joined him there in August and the two painted their ultimate “Analytical Cubist” works in intense dialogue.
Composition is Mondrian's cubist-inspired works scumbled atmospheric tones of ocher, blue gray, and pink.
Composition
Composition
Composition is Mondrian's cubist-inspired works scumbled atmospheric tones of ocher, blue gray, and pink.

Composition

Piet Mondrian

Dutch (1872–1944)

20th century

1914
Oil on canvas
47 1/2 x 39 7/8 in. (120.6 x 101.3 cm)Framed: 48 1/8 x 40 5/16 x 13/16 in. (122.2 x 102.4 x 2.1 cm)
APg 1983.03

From the age of fourteen, when Mondrian decided to become a painter, he specialized in calm landscapes, often with isolated buildings and shadowy twilight effects of dull gold and silver.

Portrait of Heriberto Casany is Miró's portrait of his art-school friend Heriberto Casany while in the art group called the Courbets. With his spindly fingers and the undulating folds in his tweed suit jacket, Casany resembles saints depicted in medieval Catalan frescoes with gold backgrounds.
Portrait of Heriberto Casany
Portrait of Heriberto Casany
Portrait of Heriberto Casany is Miró's portrait of his art-school friend Heriberto Casany while in the art group called the Courbets. With his spindly fingers and the undulating folds in his tweed suit jacket, Casany resembles saints depicted in medieval Catalan frescoes with gold backgrounds.

Portrait of Heriberto Casany

Joan Miró

Spanish (1893–1983)

20th century

1918
Oil on canvas
27 5/8 x 24 7/16 in. (70.2 x 62 cm)Framed: 38 1/2 x 36 1/2 x 2 1/2 in. (97.8 x 92.7 x 6.4 cm)
AP 1984.09

“Here in Barcelona, we lack courage,” Miró wrote in late 1917 to his studio-mate Enric Ricart. “We, the younger generation, could get together and exhibit every year, all together under the name of the “Chrome Yellow Salon,” for example, and pronounce virile manifestos. . . .

Weeping Willow is one of ten paintings of the subject Monet painted in mournful response to the mass tragedy of World War I. The tree’s trunk, its cascading branches, and its reflection are all incorporated into his greatest artistic legacy, the mural-scale Nymphéas canvases that were his preoccupation from 1914 until his death.
Weeping Willow
Weeping Willow
Weeping Willow is one of ten paintings of the subject Monet painted in mournful response to the mass tragedy of World War I. The tree’s trunk, its cascading branches, and its reflection are all incorporated into his greatest artistic legacy, the mural-scale Nymphéas canvases that were his preoccupation from 1914 until his death.

Weeping Willow

Claude Monet

French (1840–1926)

20th century

1918–19
Oil on canvas
39 1/4 x 47 1/4 in. (99.7 x 120 cm)Framed: 51 1/16 x 59 1/4 x 2 1/2 in. (129.7 x 150.5 x 6.4 cm)
AP 1996.02

Monet had painted ten Weeping Willow paintings by 1919, apparently in mournful response to the mass tragedy of World War I.

Composition is Leger's painting of what appears to be rods, wires, and the stenciled letters P, U, and V (presumably taken from some poster or sign observed on the street). It is impossible to identify specific objects, but this colorful painting is one version of many of Leger's painting with these abstract objects arranged in similar interrelationships.
Composition
Composition
Composition is Leger's painting of what appears to be rods, wires, and the stenciled letters P, U, and V (presumably taken from some poster or sign observed on the street). It is impossible to identify specific objects, but this colorful painting is one version of many of Leger's painting with these abstract objects arranged in similar interrelationships.

Composition

Fernand Léger

French (1881–1955)

20th century

c. 1920
Oil on canvas
23 3/4 x 28 7/8 in. (60.3 x 73.4 cm)Framed: 36 x 41 3/4 x 5 in. (91.4 x 106 x 12.7 cm)
AP 1985.11

Léger commonly painted several different variations on each of his pictorial ideas, and many of the same elements in this painting appear in four others, arranged in similar interrelationships.

L'Air is one of eight bronze and lead sculptures corresponding to the stone figure for a monument commissioned from Maillol by the city of Toulouse, France. Maillol based his idea upon a small terracotta he had made around 1900 showing a woman reclining on billowing drapery, as if to represent a Greek goddess at court in the clouds or on the sea.
L'Air
L'Air
L'Air is one of eight bronze and lead sculptures corresponding to the stone figure for a monument commissioned from Maillol by the city of Toulouse, France. Maillol based his idea upon a small terracotta he had made around 1900 showing a woman reclining on billowing drapery, as if to represent a Greek goddess at court in the clouds or on the sea.

L'Air

Aristide Maillol

French (1861–1944)

20th century

Designed in 1938, cast in 1962
Bronze, cast 5, edition of 6
50 13/16 x 92 11/16 x 38 in. (129 x 235.5 x 96.5 cm)
AP 1967.06

This is one of eight bronze and lead sculptures corresponding to the stone figure for a monument commissioned from Maillol by the city of Toulouse, France.

Abstraction is one of the culminating paintings in a stark, hallmark mode that Mondrian had developed by 1921 of straight horizontal and vertical lines, rectangular shapes resulting from their crossing; and a palette of black, white, and the primary colors.
Abstraction
Abstraction
Abstraction is one of the culminating paintings in a stark, hallmark mode that Mondrian had developed by 1921 of straight horizontal and vertical lines, rectangular shapes resulting from their crossing; and a palette of black, white, and the primary colors.

Abstraction

Piet Mondrian

Dutch (1872–1944)

20th century

1939–42
Oil on canvas
29 1/2 x 26 3/4 in. (74.9 x 67.9 cm)Framed: 35 1/2 x 32 5/8 x 1 1/2 in. (90.2 x 82.9 x 3.8 cm)
AP 1994.05

The austerely abstract style of Mondrian’s grid paintings restricts itself to straight horizontal and vertical lines, and the rectangular shapes resulting from their crossing; their palette is simply black, white, and the primaries: red, yellow, and blue.

Constellation: Awakening in the Early Morning is one of Miró's series of twenty-three small gouache and oil wash paintings known as the Constellations.
Constellation: Awakening in the Early Morning
Constellation: Awakening in the Early Morning
Constellation: Awakening in the Early Morning is one of Miró's series of twenty-three small gouache and oil wash paintings known as the Constellations.

Constellation: Awakening in the Early Morning

Joan Miró

Spanish (1893–1983)

20th century

1941
Gouache and oil wash on paper
18 1/8 x 14 15/16 in. (46 x 38 cm)Framed: 26 x 22 5/8 in. (66 x 57.5 cm)
APg 1993.05

This is one of a series of twenty-three small gouache and oil wash paintings known as the Constellations. The series evolved, surprisingly enough, from Miró’s aspirations in the late 1930s to work on a mural scale.

L'Asie culminates Matisse's obsession with painting the female figure in rich, exotic costumes and settings. The title alludes to a well-established tradition in European art in which female figures were used to symbolize each of the continents. Or it may have been suggested by her colorful fur-lined coat over a couture striped gown.
L'Asie (Asia)
L'Asie (Asia)
L'Asie culminates Matisse's obsession with painting the female figure in rich, exotic costumes and settings. The title alludes to a well-established tradition in European art in which female figures were used to symbolize each of the continents. Or it may have been suggested by her colorful fur-lined coat over a couture striped gown.

L'Asie (Asia)

Henri Matisse

French (1869–1954)

20th century

1946
Oil on canvas
45 3/4 x 32 in. (116.2 x 81.3 cm)Framed: 56 3/8 × 43 × 2 1/2 in. (143.19 × 109.22 × 6.35 cm)
AP 1993.01

Coming nearly at the end of Matisse’s long career, L’Asie culminates his obsession with painting the female figure in rich, exotic costumes and settings.

Walking Flower (La fleur qui marche) is one of Leger's ceramic sculptures that is  boldly colored on one face, black and white on the other, a form from nature imbued with a human spirit, a spirit of humor, of play, and of joyfulness.
Walking Flower (La fleur qui marche)
Walking Flower (La fleur qui marche)
Walking Flower (La fleur qui marche) is one of Leger's ceramic sculptures that is  boldly colored on one face, black and white on the other, a form from nature imbued with a human spirit, a spirit of humor, of play, and of joyfulness.

Walking Flower (La fleur qui marche)

Fernand Léger

French (1881–1955)

20th century

1952
Ceramic, edition of 3
123 x 96 x 55 in. (312.4 x 243.8 x 139.7 cm)
AG 2011.02

After his groundbreaking investigations of complex forms and patterns in the paintings of his Cubist years—paintings such as the 1920 Composition—Léger moved towards a style of greater generalization and simplicity.

Oval Form (Trezion) by Barbara Hepworth is made of bronze  and is cast 4 of an edition of 7.
Oval Form (Trezion)
Oval Form (Trezion)
Oval Form (Trezion) by Barbara Hepworth is made of bronze  and is cast 4 of an edition of 7.

Oval Form (Trezion)

Barbara Hepworth

British (English) (1903–1975)

20th century

1962-63
Bronze, cast 4, edition of 7
36 15/16 x 57 1/2 x 33 in. (93.9 x 146 x 83.8 cm)
AG 2011.03
Woman Addressing the Public: Project for a Monument is Miró's huge fantasy monument with peculiar proportions and anatomy. The monument is indebted to the artist’s lifelong study of the imaginative and expressive powers of the art of children.
Woman Addressing the Public: Project for a Monument
Woman Addressing the Public: Project for a Monument
Woman Addressing the Public: Project for a Monument is Miró's huge fantasy monument with peculiar proportions and anatomy. The monument is indebted to the artist’s lifelong study of the imaginative and expressive powers of the art of children.

Woman Addressing the Public: Project for a Monument

Joan Miró

Spanish (1893–1983)

20th century

1980–81
Bronze
146 1/2 x 96 in. (372.1 x 243.8 cm)
AP 1996.01

With its peculiar proportions and anatomy, Miró’s huge fantasy monument Woman Addressing the Public is indebted to the artist’s lifelong study of the imaginative and expressive powers of the art of children.

Figure in a Shelter is Henry Moore's bronze sculpture consisting of two halves of the “helmet” that become an enfolding architectural protection for the small, upright form, whose expanding and contracting columnar shape suggests a human body.
Figure in a Shelter
Figure in a Shelter
Figure in a Shelter is Henry Moore's bronze sculpture consisting of two halves of the “helmet” that become an enfolding architectural protection for the small, upright form, whose expanding and contracting columnar shape suggests a human body.

Figure in a Shelter

Henry Moore

British (English) (1898–1986)

20th century

cast 1983
Bronze, edition of 6
72 x 80 x 90 in. (182.9 x 203.2 x 228.6 cm)
AG 2011.01

Henry Moore is one of the most important sculptors of the twentieth century. Beginning as a carver in wood and stone, Moore moved to modeling sculpture to be cast in bronze, taking the human form as his constant theme.

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