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| Oh well it was in the vicinity of MoMa so why not?! |
Lithographs by Picasso - earlier works.
One of my favourites - Kaylen has a book titled 'When Pigasso met Mootisse' which describes their love-hate relationship between Picasso & Matisse with illustrations similar to the artists' signature styles.
Françoise with a Bow in Her Hair (Françoise au Noeud dans les Cheveux)
In 1943 Picasso met Françoise Gilot, a young aspiring painter; she moved in with him in 1946. This was an optimistic time of renewal in France, after the end of World War II, and the couple's early years together, spent mostly in the South of France, seem to have been idyllic. The couple separated in 1953. Gilot returned to Paris with their two children, who were born in 1947 and 1948.
Here Picasso employs some of Henri Matisse's signature devices, composing simply in lines and flat shapes. Picasso and Matisse renewed their friendship around this time, as both were in the South of France. Françoise Gilot and Matisse were also fond of each other.
Paul's favourite Jackson Pollock picture - No. 31 - for obvious reasons to those in the know. The epitome of abstract art, this artwork was first introduced to Kaylen at the Dallas Museum of Art where we chanced upon a story book of how a little girl met Mr Pollack and had a hand in making this piece of art with random splashes of paint.
A very intriguing piece of acrylic paint use.
A painting that represents the different states of USA.
Cat and Bird by Paul Klee. I could so picture this painting in my home! It is so amazing that a painting from the 1920s can still be so relevant and modern.
A perspective of how this picture was conceived.
In the Cat and Bird, 1928, in this allegory, the prey appears trapped within the hunter's mind. Using a simple two-dimensional method of distinguishing inside from outside that had been used for millennia in many types of primitive drawing, Klee went beyond the depiction of physical phenomena - the internal organs of an animal or a beast with its swallowed prey - and created the visual equivalent of mental states. Klee places a moon to balance the cat's eyes and nose and placed the bird on the forehead of the cat; with this he has lent an air of oriental mystery to the composition. The cat was Klee's favorite animal; he did not consciously intend to portray a cat. He merely painted lines, circles and shades of color and found the cat had entered the picture. On MoMA - The cat is watchful, frighteningly so, but it is also calm, and Klee's palette too is calm, in a narrow range from tawny to rose with zones of bluish green. This and the suggestion of a child's drawing lighten the air. Believing that children were close to the sources of creativity, Klee was fascinated by their art, and evokes it here through simple lines and shapes: ovals for the cat's eyes and pupils (and, more loosely, for the bird's body), triangles for its ears and nose. And the tip of that nose is a red heart, a sign of the cat's desire.
A perspective of how this picture was conceived.
In the Cat and Bird, 1928, in this allegory, the prey appears trapped within the hunter's mind. Using a simple two-dimensional method of distinguishing inside from outside that had been used for millennia in many types of primitive drawing, Klee went beyond the depiction of physical phenomena - the internal organs of an animal or a beast with its swallowed prey - and created the visual equivalent of mental states. Klee places a moon to balance the cat's eyes and nose and placed the bird on the forehead of the cat; with this he has lent an air of oriental mystery to the composition. The cat was Klee's favorite animal; he did not consciously intend to portray a cat. He merely painted lines, circles and shades of color and found the cat had entered the picture. On MoMA - The cat is watchful, frighteningly so, but it is also calm, and Klee's palette too is calm, in a narrow range from tawny to rose with zones of bluish green. This and the suggestion of a child's drawing lighten the air. Believing that children were close to the sources of creativity, Klee was fascinated by their art, and evokes it here through simple lines and shapes: ovals for the cat's eyes and pupils (and, more loosely, for the bird's body), triangles for its ears and nose. And the tip of that nose is a red heart, a sign of the cat's desire.
Henri Matisse's La Danse (I)....K said 'shame, shame' when she saw the image..
Van Gogh's Starry Night - his magnus opus..
Les Demoiselles d'Avignon by Pablo Picasso...
Finally, a group shot!
