On View

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.

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
Constellation (for Louis Kahn)
Constellation (for Louis Kahn)

Constellation (for Louis Kahn)

Isamu Noguchi
American (1904–1988)
20th century
1980–83
Basalt
a: 40 x 58 x 43 in. (101.6 x 147.3 x 109.2 cm) b: 84 x 33 x 29 in. (213.4 x 83.8 x 73.7 cm) c: 24 x 27 x 24 in. (61 x 68.6 x 61 cm) d: 26 1/2 x 96 1/2 x 34 in. (67.3 x 245.1 x 86.3 cm)
AG 1983.01 a-d
Around 1980, the great twentieth-century stage designer, furniture maker, and sculptor, Isamu Noguchi, was inspired to create a sculpture ensemble for the grass courtyard on the east side of the Kimbell in honor of architect Louis Kahn.
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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