Showing 21 - 30 of 141 Painting/Drawing annotations

Annotated by:
Winkler, Mary

Summary:

In this satirical etching, a recumbent, slack-limbed man is attended by two shadow background figures (one of whom may be his wife) and his physician--a fashionably attired ass! The ass/physician is searching for the pulse of his patient, a pose that accentuates the ostentatiously large gem encircling his hoof.

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Corporate Decision

Tooker, George

Last Updated: Apr-26-2012
Annotated by:
Kohn, Martin

Summary:

The foreground of this painting is dominated by a "pieta" type grouping. One woman hovers closely over what appears to be a dying man, while another comforts a small child. This part of the canvas is underlighted. The colors are rich earth tones. The figures are non-Caucasian.

In the background, in harsh light, is a group of identical looking starkly white men. In fact, their faces are almost skeletal. All are in suits, three are seated, with four others standing behind the seated figures. They look very much like a "tribunal."

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Morphinomaniac

Grasset, Eugene-Samuel

Last Updated: Apr-26-2012
Annotated by:
Dittrich, Lisa

Primary Category: Visual Arts / Painting/Drawing

Genre: Color lithograph

Summary:

This striking painting seems to embody the "mania" of the morphine addict--the wild hair (particularly the unnatural upward curve of several strands); the brilliant color; the reckless glimpse of stocking; and the mixed sense of urgency and pain in the face of the young woman as she injects the drug into her thigh. The painting is a "close-up" of this desperate figure--the viewer is not offered any safe distance from her image.

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Self-portrait at 70

Willing, Victor

Last Updated: Apr-26-2012
Annotated by:
Shafer, Audrey

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

Large blue circular eyes stare up from this frontal self-portrait. The sclera is visible underneath the eyes, which reflect the same washed blue of the background. This blue is as startling as, and reminiscent of, the green background of a Van Gogh self-portrait. The visage is grimly determined and the mouth a thin-lipped line. Ears are large and the shoulders blend into the background. He is thin and somewhat haggard.

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The Courtroom

Layton, Elizabeth

Last Updated: Apr-26-2012
Annotated by:
Bertman, Sandra

Summary:

This is an aerial view of a comatose patient being force-fed by a funnel leading directly into her stomach. Surrounding the consultation table are six (identifiable) black-robed supreme judges gleefully pouring nutritious foods (grapes, fish, Quaker Oats, peanut butter, water and 7-Up) into her. Two tiny symbols, the scales of justice and a red-white-and-blue eagle contribute to the otherwise empty courtroom decor.

In the upper right corner, barely visible, is an open door with a "Keep Out" sign dangling from its knob, through which a doctor and nurse peer in. Four tiny red paper-doll figures holding hands, symbolizing the family, are also by this door. Hanging precariously over the patient and consultation table is an ugly, large, bare 25-watt light bulb.

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Frida and the Miscarriage

Kahlo, Frida

Last Updated: Apr-26-2012
Annotated by:
Woodcock, John

Primary Category: Visual Arts / Painting/Drawing

Genre: Lithograph

Summary:

A female figure stands facing us, unclothed, her left side darker than her right, occupying the middle of the frame. She is surrounded with images from the process of human reproduction. The largest of the former is the well-formed male fetus in the frame’s lower left, which is connected by a thin umbilical cord wrapped around the figure’s right leg to a fetus in an early stage of development in the figure’s abdomen, which we see as if by x-ray.

Tear-shaped droplets of blood drip down the figure’s left leg and soak into a dark mass in the earth, where they nourish the roots of several plants. A tear rolls down each of the figure’s cheeks. Just above her to her left is a weeping crescent moon. Below it is an artist’s palette that the figure holds up with a second left arm.

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Annotated by:
Aull, Felice

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

Painted while Neel was enrolled in the Works Progress Administration--a New Deal program to help the unemployed-- the work depicts a scene with which the artist was probably familiar, being herself impoverished at the time. The setting is a room at The Russell Sage Foundation, established by Margaret Olivia Sage in 1907 for "'the improvement of social and living conditions in the United States.' In its early years the Foundation undertook major projects in low-income housing, urban planning, social work, and labor reform" (quote from http://www.russellsage.org/about) .

At the painting's rear center sits an elderly (gray haired) woman facing sideways, dressed all in black, head buried in her hands. From her clothing and affect, she is probably a widow. She is seated in front of a small table around which, in a semicircle, sit her interrogators - nine men and two women. They all face her. One of the women seems to be interviewing her while the other people listen with varying expressions on their faces, ranging from thoughtful to impassive. The men are all wearing suits and ties except for one (possibly two), with clerical collar. The women, including the elderly lady under investigation, all wear hats. All are white, with the possible exception of a clergyman, who may be a light skinned black. To the right foreground of the painting sit two men, facing sideways, who appear to be waiting to be questioned. The man closest to the viewer is elderly, with a white mustache, apparently Latino since his skin color is light brown; he is wearing a suit and tie and holds two bananas in his hand. The expression on his face is one of worry and fatigue. To the left foreground, with his back to the viewer, a man sits leaning forward, apparently one of the questioners.

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The Last Illness

Neel, Alice

Last Updated: Feb-18-2012
Annotated by:
Winkler, Mary

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

This portrait of the artist's mother was done a few months before her death in 1954. An elderly woman with white, feathery, unkempt hair sits facing the viewer, wearing a plaid wool bath robe. Although the chair is set on a slight diagonal with the picture plane, the impression is one of frontality: the subject faces (confronts) the viewer with a combination of fortitude and vulnerability.

Neel has suggested spiritual and emotional conflict by dividing the face and accentuating the frightened eyes behind large spectacles. The strong geometrical pattern of the bathrobe gives a sense of stability to the form, while simultaneously setting up a contrast with the delicate hands and aged face of the sick woman.

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Self-Portrait

Neel, Alice

Last Updated: Feb-18-2012
Annotated by:
Bertman, Sandra

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

In 1980, four years before her death at age 84, Alice Neel painted her first self-portrait. Grasping her paintbrush, the naked artist looks directly at the viewer without concern for pleasing. Bravely, she invites us to meet her fully in this deeply honest and vulnerable space.

The hard vertical bars of the chair encircle her soft and abundant flesh. One arm is raised in readiness for work, the other hangs limp, mimicking the heavy droop of her breasts and stomach. Eyeglasses hint at frailty yet proclaim her as one who sees. These opposing elements mark her singularity.

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City Hospital

Neel, Alice

Last Updated: Feb-18-2012
Annotated by:
Bertman, Sandra

Summary:

In 1953 Alice Neel created a series of ink and gouache drawings depicting the last weeks of her mother's life, which were spent in a New York city hospital. One of these is at the Robert Miller website linked to this annotation. In the drawing, a black nurse comforts a prone elderly lady. The pale hues of the painting--blue, black, white--evoke a somber mood and imply sickness. This sense of despair is augmented by a harsh cityscape background beyond a dark river, which the viewer sees through a window.

Compassion counters these desolate surroundings, however, for a bond is apparent between the nurse and elderly patient. The nurse's hands rest on the patient in a partial cradling gesture, and the trajectory of the lines made by the nurse's arms and hands and the elderly patient's flowing hair establishes a visual and emotional link. The connection between the two figures is supplemented by the thin smiles on both women's faces.

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