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CLAUDE MONET - Le Mont Riboudet a Rouen au Printemps - oil on canvas - 21 1/2 x 28 5/8 in.
CLAUDE MONET
Le Mont Riboudet a Rouen au Printemps
1872
21 1/2 x 28 5/8 in.
oil on canvas

TOM WESSELMANN - Bedroom Breast - oil on cut-out aluminum - 80 x 76 x 10 in.
TOM WESSELMANN
Bedroom Breast
2004
80 x 76 x 10 in.
oil on cut-out aluminum

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme. <br> <br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906. <br> <br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.
FREDERICK CARL FRIESEKE
Afternoon at the Beach
1905 / 1906 in Fra
60 x 178 in.
oil on canvas

ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.
ALEXANDER CALDER
The Palm Tree
1947
39 ½ x 29 ¾ in.
oil on canvas

WIFREDO LAM - Sans Titre - oil on canvas - 63 1/4 x 51 1/4 in.
WIFREDO LAM
Sans Titre
1963
63 1/4 x 51 1/4 in.
oil on canvas

ANISH KAPOOR - Blood Cinema - acrylic and steel - 77 1/4 x 77 1/4 x 18 3/4 in.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel

DAVID PARK - Woman at Piano - oil on canvas - 29 1/4 x 24 in.
DAVID PARK
Woman at Piano
1954
29 1/4 x 24 in.
oil on canvas

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.
SAM FRANCIS
A Whirling Square
1975
222 x 210 in.
acrylic on canvas

SUSAN ROTHENBERG - Diagonal - acrylic and tempera on canvas - 45 7/8 x 60 1/8 in.
SUSAN ROTHENBERG
Diagonal
1975
45 7/8 x 60 1/8 in.
acrylic and tempera on canvas

This oil painting by the preeminent and wildly eccentric artist amplifies a common theme not only in the artist’s work, but also in Surrealism as a movement. Dalí often depicted eyes in his paintings, sculpture, and fashion (especially jewelry) as both a symbol for the act of perception and as an allusion, and to promote a new way of seeing. It also imparts a sense of all-knowing power, which fed his “obsessive desire to become a clairvoyant in order to explore the unconscious,” a 2008 Sotheby’s catalog suggests. <br> <br>In 1942, a few months after his retrospective exhibition at the Museum of Modern Art in New York, Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting, Les Yeux Fleuris, from the same year, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Its provenance traces to Marques Jorge de Cuevas, who also owned a similar work by Dalí — the 15-foot-wide Yeux Fleuris, a 1931 tempera and oil on canvas that was used on the set for Mad Tristan. <br> <br>Eyes appear in Dalí paintings throughout his career — as late as the 1981 painting Argus, which has five eyes. Most notably, the eye appears in paintings Dalí made for the dream sequences of the film Spellbound starring Ingrid Bergman and directed by Alfred Hitchcock. By this time, a motor disorder forced Dalí into retirement, unable to hold and move a paintbrush. After his wife, Gala, died in 1982, Dalí moved into a castle in Pubol, where he was severely burned in a fire. About eight years later, he died of heart failure in the city where he was born, Figueres, Spain.
SALVADOR DALI
Les Yeux Fleuris
1944
27 x 19 3/8 in.
oil on canvas

ANISH KAPOOR - Untitled - alabaster - 40 5/8 x 48 1/2 x 17 1/2 in.
ANISH KAPOOR
Untitled
2011
40 5/8 x 48 1/2 x 17 1/2 in.
alabaster

AD REINHARDT - Untitled - oil on canvas - 40 x 32 in.
AD REINHARDT
Untitled
1949
40 x 32 in.
oil on canvas

ANTHONY CARO - Nectarine - rusted and varnished steel - 79 x 110 x 51 in.
ANTHONY CARO
Nectarine
c. 1976
79 x 110 x 51 in.
rusted and varnished steel

ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.
ROBERT HENRI
Girl with Muff
c. 1900
57 1/4 x 38 3/4 in.
oil on canvas

N.C. WYETH - "- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi - oil on canvas - 40 3/4 x 30 in.
N.C. WYETH
"- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi
1920
40 3/4 x 30 in.
oil on canvas

YAYOI KUSAMA - Increment in the Spring - acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction - 39 1/2 x 23 1/2 x 11 7/8
YAYOI KUSAMA
Increment in the Spring
1986
39 1/2 x 23 1/2 x 11 7/8
acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction

ROBERT MOTHERWELL - Gesture No. 45 - acrylic on canvas - 48 x 36 in.
ROBERT MOTHERWELL
Gesture No. 45
c. 1977
48 x 36 in.
acrylic on canvas

RUDOLF BAUER - Larghetto III - oil and tempera on cardboard - 24 x 34 in.
RUDOLF BAUER
Larghetto III
1919
24 x 34 in.
oil and tempera on cardboard

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.
FERNAND LEGER
Femme Couchee
1912
12 7/8 x 19 3/8 in.
charcoal on paper

YAYOI KUSAMA - Incomplete Proliferation No. 81 - ink and pastel on paper - 16 3/4 x 11 3/4 in.
YAYOI KUSAMA
Incomplete Proliferation No. 81
1951
16 3/4 x 11 3/4 in.
ink and pastel on paper

Marc Chagall was a Russian-French modernist artist, known for his synthesis of surrealism and symbolism. This work is a preparatory gouache for the stained glass windows of the Mainz Cathedral in Germany. Although Jewish, Chagall believed the work for the cathedral represented a chance for peace and borrows from the Old and New Testaments. This work combines the distinctive style of Chagall and the unique design properties of stained glass windows. Chagall visualized a panorama of blue with lead lacing for the windows which is evident in this drawing.
MARC CHAGALL
The Angel and the Tree of Life
1981
matted image: 46 3/4 x 29 in.
tempera, gouache, black pencil and pen and ink on paper

FERNANDO BOTERO - Lovers - white marble - 20 1/8 x 12 1/2 x 13 1/8 in.
FERNANDO BOTERO
Lovers
2010
20 1/8 x 12 1/2 x 13 1/8 in.
white marble

NORMAN ROCKWELL - Study for "Scouts of Many Trails" - oil on masonite - 40 x 28 1/2 in.
NORMAN ROCKWELL
Study for "Scouts of Many Trails"
c. 1937
40 x 28 1/2 in.
oil on masonite

Edward Hopper is considered one of the most important American realist painter, known for his studies of American life. While his process for oils was meticulous, involving extensive preparatory drawings to study the subject of a single painting, his watercolors were quick and spontaneous. Edward Hopper’s Rain on River captures an instant impression of nature. Part of the White River series he did while traveling in Vermont with his wife, Hopper captured the quiet resonance of America through the serenity of its landscape.
EDWARD HOPPER
Rain on River
1938
13 1/2 x 19 1/2 in
watercolor on paper

RICHARD DIEBENKORN - Untitled - welded scrap iron - 20 1/4 x 42 1/4 x 29 1/2 in.
RICHARD DIEBENKORN
Untitled
c. 1951
20 1/4 x 42 1/4 x 29 1/2 in.
welded scrap iron

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.
JULIAN SCHNABEL
Untitled
1991
96 x 120 in.
oil, resin, gesso, fabric and leather on seamed dropcloth

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.
JULIAN SCHNABEL
Untitled
1991
96 x 120 in.
oil, resin, gesso, fabric and leather on seamed dropcloth

Andy Warhol, the most famous and infamous of Pop artists, first created his electric chair works in 1963, based on an image of the electric chair at Sing Sing Prison. He returned to the image for this 1971 set of prints and in which he put more prominence on the chair by cropping the image. Warhol repeats the image ten times and in different color combinations to produce a hypnotic and alluring effect. Warhol’s artworks helped define American culture while, like in Electric Chair, he meditated on the promises and dark-edge of media and consumer culture.
ANDY WARHOL
Electric Chairs
1971
35 3/8 x 47 7/8 in. ea.
screenprint

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.
JULIAN SCHNABEL
Pascin Pig Passin Time
1983
48 x 40 x 6 in.
oil, plates, and bondo on board

YAYOI KUSAMA - Seashore of Rotterdam - acrylic on canvas - 20 15/16 x 18 in.
YAYOI KUSAMA
Seashore of Rotterdam
1988
20 15/16 x 18 in.
acrylic on canvas