The freedom in my paintings is quite controlled; I dont close my eyes and hope for the best. This statement by Joan Mitchell reminds that her exuberant compositions are just thatcomposed. While often considered a second-generation abstract expressionist, Mitchell moved to France in 1959 to distance herself from the New York scene. In 1969, she settled in Vheuil, north of Paris, to a two acre riverfront compound. There, in her larger studio, her landscape inspired canvases increased in scale and their surfaces became more weighty and dense.
American Academy of Arts and Letters, Childe Hassam Fund
Diptych painting of an abstracted head in greens and blues on the right; on the left is an image of Betsy Ross sewing the American flag.
Large acrylic painting with chandeliers and dogs on a red ground.
Abstract landscape in red, orange, blue and purple.
Gift of Professor Alfred Moir through UCSB Art Affiliates
Chief of Staff "He unloads his lethal ordinance"
Command and Control "If they can get off..."
Untitled, from the (Hamlet 1999 series)
MASTER OF THE FEMALE HALF-LENGTH FIGURES
Pastime gathers works from the 1920s through the 1940s from the University Art Museums permanent collection. The lush Reginald Marsh sketch, here, is joined by realist prints from the extensive Ken Trevey Collection. During the Depression, government support for artists increased and printmaking, in particular, reached new highs. Artists felt a passionate effort to make a living record of contemporary American experience. (Alfred Kazin, On Native Ground). Like much of the realist art from the period, the images in Pastime describe the pulse of urban lifestreet scenes and subways, dance halls and diners. Despite their Depression-era dates, however, these selected images illustrate scenes of leisure and play. Yet any escapist notions are tempered by the encroaching reality of time and place: clothing, street signs, advertisements insistently place the images in their present.
An abstracted depiction of the month of October in which the artist uses various earthy browns, yellows, greens, greys, whites, blues, reds, and blacks. There is a cluster of black, blue and red slightly off center to the bottom left and a similar conglomeration of colors, mainly black, that occupies the upper horizontal plane of the canvas. Initialed by the artist at the lower right corner.
Robert Mangold's monochromatic canvases are often discussed as a product of Minimalism, an artistic movement which favored pure geometry and materials over narrative and emotional content. However, his use of irregular geometry, warm, muted colors, and the interchange between line and edge suggests a greater interest in illusion and an internal formal order.
LOCHEAD, Kenneth Campbell
Vertical oil painting with orange, red and yellow blocks at center.
egg tempera, colored pencil, on Rives paper
Purchased through gift of Alvin M. Rudd and Art Museum Purchase Fund
Circular oil on canvas portrait of a male identified as Frances Stewart
Circular oil on canvas portrait of female identified as the Duchess of Cleveland, full bust figure of a female with cleft chin.
Acrylic on Sintra (PVC panel) painting of large black brush strokes interspersed with yellows, reds and pinks.
Gift of Laurence Eisenstein and Robin Zimelman
Gouache painting in dark blue highlighted by white representing a shimmering effect. Gallery label on reverse.
Gift of Marc Selwyn Fine Art, Beverly Hills
Acrylic on canvas with centralized image of a red and white fish superimposed on three yellow figures.
Gift of Otis Gallery, Otis College of Art and Design
JACKSON, J.B. (After Titian)
Print of 1530 Titian painting of same title that was destroyed in 1739. Man attacking Peter, 2nd man feeling; Putti above.
Gift of E. Bruce Robertson and Thom Kren
Inkjet painting of a gradation of colored dots printed on silk; the dots descend from bright blue and pink to deep green.
Courtesy of Marc Selwyn Fine Art, Beverly Hills
Small acrylic painting of circular pattern superimposed on spiral-like grid.
Abstract composition primarily in shades of red, pink and black with lavender and yellow.
Large panoramic painting of a desert landscape with mountains in background.
Throughout his career, James Hayward has explored the potential of abstraction through monochromatic painting. These tense and luminous early canvases, which seem to capture and hold light, later give way to textured, physical surfaces which resist illusion. Hayward works with spontaneity and deliberation, as he says, not a mindless intuition, but a fortified one.
The title of this work alludes to the biblical story of Salome, who infamously appeals for the execution of John the Baptist after dancing for King Herod on his birthday. While the depiction of Salome exhibiting the severed head of John the Baptist has been a popular subject in art through the centuries, Hawkins take is particularly novel. Rather than focusing on the female protagonist, the artist emphasizes the victims ghoulish head, which seems to hover over a smoking barrel. Like many other examples of Hawkins works, this painting references the subjects prevalence in art history and points to the relationship between desire, sex, and violence. Signed LH and dated 11 at lower right.
June Harwood belongs to a group of California painters from the late-1950s who pursued a hard-edge geometric style of abstraction. Broad areas of unmodulated color interlock to form tense compositions of positive and negative spaces. Harwood's compositions are often marked by a dynamic energy through the use of irregular forms.
Gift of Mr. Robert H. Hartman through UCSB Art Affiliates
portrait; male with mustache identified as Peter Krasnow
A small square with abstract patterns and black dots against a white background. Signed,dated, and titled by artists on reverse.
Estate of Frances Garvin and Keith Julius Puccinelli
Image of slightly burnt toast againts a white background. Titled lower right corner; signed, dated, and titled on reverse by the artist with the words "I toast Fran and Keith!"
Brightly colored acrylic painting; large brush strokes in muti-colors on unframed canvas.
Man wearing green tunic, carrying book and staff.
Skeletal bones, image of person viewing a compass, blue square
Gift of Lisa and Michael Darling in Memory of David Gebhard
Desert Storm War, Pray for United Worlds
Coke bottle-shaped panel with Desert Storm narratives interspersed with colorful images of housing. Panel includes a cap depicting a smiling face with figures on a bridge.
From God, My Visions Are Coming True
Painting of a field of flowers, hills, and a bridge covered with people walking positioned between two mountians at left and right. mountains. The sky is composed of anthropomorphic clouds and floating people. The lower half of the painting is filled with text describing a vision, the subject of the painting.
Painted wood panel detailed with cartoon faces; written phrases about coca cola and religious greetings; on reverse signed and dated.
Oil, pastel, pencil on Tullis handmade paper
Several round shapes on a purple field; In Untitled, painter Michelle Fierro played with the printed surface of this work by adding pencil marks and hand painted details. Fierro described working at the Tullis studio as "freeing" and found the input of Tullis' son, Richard as vital as he helped her with technique and encouraged her to explore aesthetically. This working process allowed her reintroduce color into her work.
Oil Platform, 1970 from the ECO-SCAPES series
Gift of Miss Elizabeth Berenson throught the UCSB Art Affiliates
Portrait of Christophorus Butkens (1590-1650), a Cistercian monk.
DU CHATTEL, Frederikus Jacobus
Oil on canvas painting of a single male figure gliding in a rowboat on a stream; bridge and building in the background.
DE ERDELY, Francis
Abstracted image of black, white and brown tree trunks;woodpecker with orange wings at upper right. Signed at lower.
DE COCK, Jan (attributed to)
CRESPI, Giuseppe Maria or His Circle
Vertical oil painting in greens; black bird forms at center; black cloud-like forms at top.
COURBET, Gustav (Studio)
Sketches of dishes in a drying rack, a woman with her hair in curlers, and a traffic signal.
Gift of Councilman Joel Wachs, Los Angeles
image: 18 1/8 x 32 1/4 inches; framed 19 x 32 3/4
black tentacles reaching up through garbage on beach
Large acrylic painting on paper in greens with circular motif
Stick figure made of numbers contemplates a clock lying on a neon colored table. Background is black.
Oil and magna on canvas painting with an abstracted maroon-colored environment containing a red rock, nude female and a blue archlike form containing smaller abstracted forms. Signed and dated, B. '65 in black; lower right.
BOWERS, Cheryl, also known as BERGMAN, Ciel
An abstract depiction of Nevada Falls with a bright beige cliff and white waterfall in the foreground; rolling grey hills in the background, and abstracted pine trees scattered throughout.
Large painting of colorful shapes set on a royal blue background; centralized image of a yellow facE
Oil on canvas painting detailing single woman standing between two men seated at a table positioned in the center foreground set against a breakfront.
Fable in White (Fabbundel im Weiss)
Gift of Lawson, Cynthia, Vanessa and Michael Desroshers
BEVERLOO, Cornelis called CORNEILLE
Large acrylic painting; multi-colored horizontal and vertical lines set against a black ground. Work is suspended from the reverse by a rod attached at the back.
Siren in a Landscape (Lorelei in Oregon)
45 x 32 in image; 53 x 39 7/8 x 2 5/16 in framed