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Cubist influence Stock Photos and Images

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Cubist influence Stock Photos and Images

JUAN GRIS, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Portrait of Spanish Cubist painter was made in Paris during WW1, after Modigliani, turned to painting due to wartime shortage of sculpture stone (BSLOC 2017 7 10) Stock Photo
RMKWDHNJ–JUAN GRIS, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Portrait of Spanish Cubist painter was made in Paris during WW1, after Modigliani, turned to painting due to wartime shortage of sculpture stone (BSLOC 2017 7 10)
JUAN GRIS, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Portrait of Spanish Cubist painter was made in Paris during WW1, after Modigliani, turned to painting due to wartime shortage of sculpture stone (BSLOC 2017 7 10) Stock Photo
RMKWDKAB–JUAN GRIS, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Portrait of Spanish Cubist painter was made in Paris during WW1, after Modigliani, turned to painting due to wartime shortage of sculpture stone (BSLOC 2017 7 10)
'BITTER CAMPARI L'APERITIVO' ['BITTER CAMPARI THE APERITIF'] Vintage Italian advertising poster by Fortunato Depero, showcasing the Cubist influence with abstract figures enjoying Campari, characterized by bold colors and geometric shapes, reflecting the avant-garde style of the 1920s. Stock Photo
RM2WNE0K3–'BITTER CAMPARI L'APERITIVO' ['BITTER CAMPARI THE APERITIF'] Vintage Italian advertising poster by Fortunato Depero, showcasing the Cubist influence with abstract figures enjoying Campari, characterized by bold colors and geometric shapes, reflecting the avant-garde style of the 1920s.
Abstract people together. Cubism Art influence. Painting, Modern Abstract Graffiti illustration. Paint with Primary Color. Contemporary art for Print and Poster Stock Photo
RF2EAMJMM–Abstract people together. Cubism Art influence. Painting, Modern Abstract Graffiti illustration. Paint with Primary Color. Contemporary art for Print and Poster
['DEMANDEZ VOTRE QUART VICHY'] ['ASK FOR YOUR QUARTER VICHY'] Vintage French Advertising; The image displays an abstract representation of people seated around a table with bottles and glasses, all in various shades of blue. The style is characterized by abstracted forms and a strong use of lines, with a cubist influence. Stock Photo
RM2WE951H–['DEMANDEZ VOTRE QUART VICHY'] ['ASK FOR YOUR QUARTER VICHY'] Vintage French Advertising; The image displays an abstract representation of people seated around a table with bottles and glasses, all in various shades of blue. The style is characterized by abstracted forms and a strong use of lines, with a cubist influence.
Abstract people together. Cubism Art influence. Painting, Modern Abstract Graffiti illustration. Paint with Primary Color. Contemporary art for Print Stock Photo
RF2DND6ER–Abstract people together. Cubism Art influence. Painting, Modern Abstract Graffiti illustration. Paint with Primary Color. Contemporary art for Print
A Juan Miro i Ferrà painting at the Fogg Art Museum in Harvard Cambridge Massachusetts Stock Photo
RMA0M1PR–A Juan Miro i Ferrà painting at the Fogg Art Museum in Harvard Cambridge Massachusetts
LOLA DE VALENCE, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Imagined portrait represents Lola de Valence, a famous dancer painted by Edouard Manet in 1862. The painting actually depicts one of Modiglianis sculptures, abstract works influenced by masks made in the French Congo, with an elongated and stylized features (BSLOC 2017 7 11) Stock Photo
RMKWDHP3–LOLA DE VALENCE, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Imagined portrait represents Lola de Valence, a famous dancer painted by Edouard Manet in 1862. The painting actually depicts one of Modiglianis sculptures, abstract works influenced by masks made in the French Congo, with an elongated and stylized features (BSLOC 2017 7 11)
LOLA DE VALENCE, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Imagined portrait represents Lola de Valence, a famous dancer painted by Edouard Manet in 1862. The painting actually depicts one of Modiglianis sculptures, abstract works influenced by masks made in the French Congo, with an elongated and stylized features (BSLOC 2017 7 11) Stock Photo
RMKWDKAT–LOLA DE VALENCE, by Amedeo Modigliani, 1915, Italian modernist painting, oil on canvas. Imagined portrait represents Lola de Valence, a famous dancer painted by Edouard Manet in 1862. The painting actually depicts one of Modiglianis sculptures, abstract works influenced by masks made in the French Congo, with an elongated and stylized features (BSLOC 2017 7 11)
PORTRAIT OF RALPH DUSENBERRY, by Arthur Dove, 1924, American painting, mixed media collage. Dove created symbolic portraits of friends using found materials. Dove’s neighbor, an architect (rulers), lived on a houseboat (nautical flag), sang a favorite hymn (sheet music), and lived near weather wood on the seashore (BSLOC 2017 7 79) Stock Photo
RMKWDHXH–PORTRAIT OF RALPH DUSENBERRY, by Arthur Dove, 1924, American painting, mixed media collage. Dove created symbolic portraits of friends using found materials. Dove’s neighbor, an architect (rulers), lived on a houseboat (nautical flag), sang a favorite hymn (sheet music), and lived near weather wood on the seashore (BSLOC 2017 7 79)
PORTRAIT OF RALPH DUSENBERRY, by Arthur Dove, 1924, American painting, mixed media collage. Dove created symbolic portraits of friends using found materials. Dove’s neighbor, an architect (rulers), lived on a houseboat (nautical flag), sang a favorite hymn (sheet music), and lived near weather wood on the seashore (BSLOC 2017 7 79) Stock Photo
RMKWDKGE–PORTRAIT OF RALPH DUSENBERRY, by Arthur Dove, 1924, American painting, mixed media collage. Dove created symbolic portraits of friends using found materials. Dove’s neighbor, an architect (rulers), lived on a houseboat (nautical flag), sang a favorite hymn (sheet music), and lived near weather wood on the seashore (BSLOC 2017 7 79)
THE ITALIAN WOMAN, by Amedeo Modigliani, 1917, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor. The artist moderates his usual anatomical elongations to an oval head and sloping shoulders. He maintains his typical narrow elongated nose and small mouth. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 13) Stock Photo
RMKWDHPX–THE ITALIAN WOMAN, by Amedeo Modigliani, 1917, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor. The artist moderates his usual anatomical elongations to an oval head and sloping shoulders. He maintains his typical narrow elongated nose and small mouth. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 13)
THE ITALIAN WOMAN, by Amedeo Modigliani, 1917, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor. The artist moderates his usual anatomical elongations to an oval head and sloping shoulders. He maintains his typical narrow elongated nose and small mouth. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 13) Stock Photo
RMKWDKBW–THE ITALIAN WOMAN, by Amedeo Modigliani, 1917, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor. The artist moderates his usual anatomical elongations to an oval head and sloping shoulders. He maintains his typical narrow elongated nose and small mouth. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 13)
FLOWER VENDOR, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Seated young woman painted in an interior. Her figure is abstractly stylized by smooth curves, against the straight edged forms of the interior. Her geometrically simplified shoulders, neck, face, nose and hands are elongated in the artists signature style (BSLOC 2017 7 15) Stock Photo
RMKWDHRP–FLOWER VENDOR, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Seated young woman painted in an interior. Her figure is abstractly stylized by smooth curves, against the straight edged forms of the interior. Her geometrically simplified shoulders, neck, face, nose and hands are elongated in the artists signature style (BSLOC 2017 7 15)
FLOWER VENDOR, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Seated young woman painted in an interior. Her figure is abstractly stylized by smooth curves, against the straight edged forms of the interior. Her geometrically simplified shoulders, neck, face, nose and hands are elongated in the artists signature style (BSLOC 2017 7 15) Stock Photo
RMKWDKCW–FLOWER VENDOR, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Seated young woman painted in an interior. Her figure is abstractly stylized by smooth curves, against the straight edged forms of the interior. Her geometrically simplified shoulders, neck, face, nose and hands are elongated in the artists signature style (BSLOC 2017 7 15)
BOY IN A STRIPED SWEATER, by Amedeo Modigliani, 1918, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor, whose likeness is maintained and not subordinated to artists extreme anatomical elongations and stylization. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 14) Stock Photo
RMKWDHRB–BOY IN A STRIPED SWEATER, by Amedeo Modigliani, 1918, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor, whose likeness is maintained and not subordinated to artists extreme anatomical elongations and stylization. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 14)
BOY IN A STRIPED SWEATER, by Amedeo Modigliani, 1918, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor, whose likeness is maintained and not subordinated to artists extreme anatomical elongations and stylization. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 14) Stock Photo
RMKWDKCB–BOY IN A STRIPED SWEATER, by Amedeo Modigliani, 1918, Italian modernist painting, oil on canvas. The sitter was probably the artists friend or neighbor, whose likeness is maintained and not subordinated to artists extreme anatomical elongations and stylization. It is painted with strong silhouette of brushed color with minimal color or tonal modeling (BSLOC 2017 7 14)
JEANNE HEBUTERNE, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Hebuterne, the artists 21 year old mistress, was pregnant with their second child. This portrait is painted with Modigliani stylizations and elongations (BSLOC 2017 7 16) Stock Photo
RMKWDHRX–JEANNE HEBUTERNE, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Hebuterne, the artists 21 year old mistress, was pregnant with their second child. This portrait is painted with Modigliani stylizations and elongations (BSLOC 2017 7 16)
JEANNE HEBUTERNE, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Hebuterne, the artists 21 year old mistress, was pregnant with their second child. This portrait is painted with Modigliani stylizations and elongations (BSLOC 2017 7 16) Stock Photo
RMKWDKD1–JEANNE HEBUTERNE, by Amedeo Modigliani, 1919, Italian modernist painting, oil on canvas. Hebuterne, the artists 21 year old mistress, was pregnant with their second child. This portrait is painted with Modigliani stylizations and elongations (BSLOC 2017 7 16)
THE RED TABLECLOTH, by Samuel Halpert, 1915, American painting, oil on canvas. The artist studied and lived in Paris and combined the influence of Cezanne and the Fauves in this still life painting (BSLOC 2017 7 115) Stock Photo
RMKWDHP9–THE RED TABLECLOTH, by Samuel Halpert, 1915, American painting, oil on canvas. The artist studied and lived in Paris and combined the influence of Cezanne and the Fauves in this still life painting (BSLOC 2017 7 115)
THE RED TABLECLOTH, by Samuel Halpert, 1915, American painting, oil on canvas. The artist studied and lived in Paris and combined the influence of Cezanne and the Fauves in this still life painting (BSLOC 2017 7 115) Stock Photo
RMKWDKB2–THE RED TABLECLOTH, by Samuel Halpert, 1915, American painting, oil on canvas. The artist studied and lived in Paris and combined the influence of Cezanne and the Fauves in this still life painting (BSLOC 2017 7 115)
BERMUDA NO. 1, TREE AND HOUSE, by Charles Demuth, 1917, American watercolor painting with pencil. Cubist influenced landscape with trees and houses (BSLOC 2017 7 92) Stock Photo
RMKWDHY8–BERMUDA NO. 1, TREE AND HOUSE, by Charles Demuth, 1917, American watercolor painting with pencil. Cubist influenced landscape with trees and houses (BSLOC 2017 7 92)
BERMUDA NO. 1, TREE AND HOUSE, by Charles Demuth, 1917, American watercolor painting with pencil. Cubist influenced landscape with trees and houses (BSLOC 2017 7 92) Stock Photo
RMKWDKH4–BERMUDA NO. 1, TREE AND HOUSE, by Charles Demuth, 1917, American watercolor painting with pencil. Cubist influenced landscape with trees and houses (BSLOC 2017 7 92)
PAGAN PHILOSOPHY, by Arthur Dove, 1913, American drawing, pastel on paperboard. This work shows the influence of European Cubism and Expressionism. Abstract forms can be read as the interaction of a blue human, in lower central triangle, and brown mechanical forms (BSLOC 2017 7 77) Stock Photo
RMKWDHXF–PAGAN PHILOSOPHY, by Arthur Dove, 1913, American drawing, pastel on paperboard. This work shows the influence of European Cubism and Expressionism. Abstract forms can be read as the interaction of a blue human, in lower central triangle, and brown mechanical forms (BSLOC 2017 7 77)
PAGAN PHILOSOPHY, by Arthur Dove, 1913, American drawing, pastel on paperboard. This work shows the influence of European Cubism and Expressionism. Abstract forms can be read as the interaction of a blue human, in lower central triangle, and brown mechanical forms (BSLOC 2017 7 77) Stock Photo
RMKWDKGC–PAGAN PHILOSOPHY, by Arthur Dove, 1913, American drawing, pastel on paperboard. This work shows the influence of European Cubism and Expressionism. Abstract forms can be read as the interaction of a blue human, in lower central triangle, and brown mechanical forms (BSLOC 2017 7 77)
SOUTHERN GARDENS, by Paul Klee, 1913, Swiss drawing, watercolor and ink on paper. This early abstract work was painted under the influence of Cubists Picasso and Braque, and the abstract colorists Robert Delaunay and August Macke. (BSLOC 2017 7 55) Stock Photo
RMKWDHWH–SOUTHERN GARDENS, by Paul Klee, 1913, Swiss drawing, watercolor and ink on paper. This early abstract work was painted under the influence of Cubists Picasso and Braque, and the abstract colorists Robert Delaunay and August Macke. (BSLOC 2017 7 55)
SOUTHERN GARDENS, by Paul Klee, 1913, Swiss drawing, watercolor and ink on paper. This early abstract work was painted under the influence of Cubists Picasso and Braque, and the abstract colorists Robert Delaunay and August Macke. (BSLOC 2017 7 55) Stock Photo
RMKWDKF6–SOUTHERN GARDENS, by Paul Klee, 1913, Swiss drawing, watercolor and ink on paper. This early abstract work was painted under the influence of Cubists Picasso and Braque, and the abstract colorists Robert Delaunay and August Macke. (BSLOC 2017 7 55)
SENTIMENTAL MUSIC, by Arthur Dove, 1913, American drawing, pastel on paperboard. Abstract, flowing, rounded forms are intersected by gently curved vertical shapes. The nonrepresentational painting creates an illusion of forms in space (BSLOC 2017 7 78) Stock Photo
RMKWDHXG–SENTIMENTAL MUSIC, by Arthur Dove, 1913, American drawing, pastel on paperboard. Abstract, flowing, rounded forms are intersected by gently curved vertical shapes. The nonrepresentational painting creates an illusion of forms in space (BSLOC 2017 7 78)
SHORE ROAD, by Arthur Dove, 1942, American painting, wax emulsion on canvas. The artwork title refers to a street in Centerport, Long Island, where Dove lived from years 1938–46. The landscape subject is suggested by the green and earthy tones (BSLOC 2017 7 86) Stock Photo
RMKWDKGR–SHORE ROAD, by Arthur Dove, 1942, American painting, wax emulsion on canvas. The artwork title refers to a street in Centerport, Long Island, where Dove lived from years 1938–46. The landscape subject is suggested by the green and earthy tones (BSLOC 2017 7 86)
SHORE ROAD, by Arthur Dove, 1942, American painting, wax emulsion on canvas. The artwork title refers to a street in Centerport, Long Island, where Dove lived from years 1938–46. The landscape subject is suggested by the green and earthy tones (BSLOC 2017 7 86) Stock Photo
RMKWDHXY–SHORE ROAD, by Arthur Dove, 1942, American painting, wax emulsion on canvas. The artwork title refers to a street in Centerport, Long Island, where Dove lived from years 1938–46. The landscape subject is suggested by the green and earthy tones (BSLOC 2017 7 86)
SENTIMENTAL MUSIC, by Arthur Dove, 1913, American drawing, pastel on paperboard. Abstract, flowing, rounded forms are intersected by gently curved vertical shapes. The nonrepresentational painting creates an illusion of forms in space (BSLOC 2017 7 78) Stock Photo
RMKWDKGD–SENTIMENTAL MUSIC, by Arthur Dove, 1913, American drawing, pastel on paperboard. Abstract, flowing, rounded forms are intersected by gently curved vertical shapes. The nonrepresentational painting creates an illusion of forms in space (BSLOC 2017 7 78)
FISHBOAT, by Arthur Dove, 1930, American painting, oil on paperboard. Abstracted boat fills the artwork surface, with a background of modeled green shapes (BSLOC 2017 7 85) Stock Photo
RMKWDHXW–FISHBOAT, by Arthur Dove, 1930, American painting, oil on paperboard. Abstracted boat fills the artwork surface, with a background of modeled green shapes (BSLOC 2017 7 85)
FISHBOAT, by Arthur Dove, 1930, American painting, oil on paperboard. Abstracted boat fills the artwork surface, with a background of modeled green shapes (BSLOC 2017 7 85) Stock Photo
RMKWDKGP–FISHBOAT, by Arthur Dove, 1930, American painting, oil on paperboard. Abstracted boat fills the artwork surface, with a background of modeled green shapes (BSLOC 2017 7 85)
BANQUET IN SILENCE, by Marsden Hartley, 1935-36, American painting, oil on canvas. Still life of a plate of fish painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 110) Stock Photo
RMKWDHP4–BANQUET IN SILENCE, by Marsden Hartley, 1935-36, American painting, oil on canvas. Still life of a plate of fish painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 110)
BANQUET IN SILENCE, by Marsden Hartley, 1935-36, American painting, oil on canvas. Still life of a plate of fish painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 110) Stock Photo
RMKWDKAW–BANQUET IN SILENCE, by Marsden Hartley, 1935-36, American painting, oil on canvas. Still life of a plate of fish painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 110)
GOAT, by Arthur Dove, 1935, American painting, oil on canvas with selective varnish. The forms of the goat merge with abstract forms in the tones of soil, foliage, water, and sky (BSLOC 2017 7 87) Stock Photo
RMKWDHY0–GOAT, by Arthur Dove, 1935, American painting, oil on canvas with selective varnish. The forms of the goat merge with abstract forms in the tones of soil, foliage, water, and sky (BSLOC 2017 7 87)
STILL LIFE NO. 16, by Marsden Hartley, 1920, American painting, oil on charcoal on paperboard. Still life painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 108) Stock Photo
RMKWDKAN–STILL LIFE NO. 16, by Marsden Hartley, 1920, American painting, oil on charcoal on paperboard. Still life painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 108)
STILL LIFE NO. 16, by Marsden Hartley, 1920, American painting, oil on charcoal on paperboard. Still life painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 108) Stock Photo
RMKWDHP0–STILL LIFE NO. 16, by Marsden Hartley, 1920, American painting, oil on charcoal on paperboard. Still life painted in a Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 108)
GOAT, by Arthur Dove, 1935, American painting, oil on canvas with selective varnish. The forms of the goat merge with abstract forms in the tones of soil, foliage, water, and sky (BSLOC 2017 7 87) Stock Photo
RMKWDKGT–GOAT, by Arthur Dove, 1935, American painting, oil on canvas with selective varnish. The forms of the goat merge with abstract forms in the tones of soil, foliage, water, and sky (BSLOC 2017 7 87)
THE INN, by Arthur Dove, 1942, American painting, wax emulsion and aluminum paint on canvas. Abstract gray architectural elements frame lollipop like trees and land (BSLOC 2017 7 88) Stock Photo
RMKWDHY3–THE INN, by Arthur Dove, 1942, American painting, wax emulsion and aluminum paint on canvas. Abstract gray architectural elements frame lollipop like trees and land (BSLOC 2017 7 88)
THE INN, by Arthur Dove, 1942, American painting, wax emulsion and aluminum paint on canvas. Abstract gray architectural elements frame lollipop like trees and land (BSLOC 2017 7 88) Stock Photo
RMKWDKGW–THE INN, by Arthur Dove, 1942, American painting, wax emulsion and aluminum paint on canvas. Abstract gray architectural elements frame lollipop like trees and land (BSLOC 2017 7 88)
LANDSCAPE, NEW MEXICO, by Marsden Hartley, 1919-20, American painting, oil on canvas. This is executed in a Hartleys muscular synthesis of Cubism and German Expressionism (BSLOC 2017 7 107) Stock Photo
RMKWDHNY–LANDSCAPE, NEW MEXICO, by Marsden Hartley, 1919-20, American painting, oil on canvas. This is executed in a Hartleys muscular synthesis of Cubism and German Expressionism (BSLOC 2017 7 107)
LANDSCAPE, NEW MEXICO, by Marsden Hartley, 1919-20, American painting, oil on canvas. This is executed in a Hartleys muscular synthesis of Cubism and German Expressionism (BSLOC 2017 7 107) Stock Photo
RMKWDKAK–LANDSCAPE, NEW MEXICO, by Marsden Hartley, 1919-20, American painting, oil on canvas. This is executed in a Hartleys muscular synthesis of Cubism and German Expressionism (BSLOC 2017 7 107)
CLOUDS AND WATER, by Arthur Dove, 1930, American painting, Oil on canvas, with selective varnish. Abstract landscape of Halesite, Long Island, with sailboats on the choppy water. The wind is represented by bands of curved lines in the clouded sky (BSLOC 2017 7 83) Stock Photo
RMKWDHXP–CLOUDS AND WATER, by Arthur Dove, 1930, American painting, Oil on canvas, with selective varnish. Abstract landscape of Halesite, Long Island, with sailboats on the choppy water. The wind is represented by bands of curved lines in the clouded sky (BSLOC 2017 7 83)
CLOUDS AND WATER, by Arthur Dove, 1930, American painting, Oil on canvas, with selective varnish. Abstract landscape of Halesite, Long Island, with sailboats on the choppy water. The wind is represented by bands of curved lines in the clouded sky (BSLOC 2017 7 83) Stock Photo
RMKWDKGK–CLOUDS AND WATER, by Arthur Dove, 1930, American painting, Oil on canvas, with selective varnish. Abstract landscape of Halesite, Long Island, with sailboats on the choppy water. The wind is represented by bands of curved lines in the clouded sky (BSLOC 2017 7 83)
MACHINERY, by Charles Demuth, 1920, American painting, gouache, and graphite on cardboard. This work is based on industrial architecture in Demuths hometown of Lancaster, Pennsylvania. Minimally abstracted with elegant lines and forms, the rooftop machinery with a background of factory is clearly depicted (BSLOC 2017 7 94) Stock Photo
RMKWDHYA–MACHINERY, by Charles Demuth, 1920, American painting, gouache, and graphite on cardboard. This work is based on industrial architecture in Demuths hometown of Lancaster, Pennsylvania. Minimally abstracted with elegant lines and forms, the rooftop machinery with a background of factory is clearly depicted (BSLOC 2017 7 94)
AFTER SIR CHRISTOPHER WREN, by Charles Demuth, 1920, American painting, watercolor, gouache. The old Center Methodist Episcopal Church in Provincetown, Massachusetts, painted with Precisionist ruled lines, geometric forms, and crossing beams of light (BSLOC 2017 7 93) Stock Photo
RMKWDKH6–AFTER SIR CHRISTOPHER WREN, by Charles Demuth, 1920, American painting, watercolor, gouache. The old Center Methodist Episcopal Church in Provincetown, Massachusetts, painted with Precisionist ruled lines, geometric forms, and crossing beams of light (BSLOC 2017 7 93)
AFTER SIR CHRISTOPHER WREN, by Charles Demuth, 1920, American painting, watercolor, gouache. The old Center Methodist Episcopal Church in Provincetown, Massachusetts, painted with Precisionist ruled lines, geometric forms, and crossing beams of light (BSLOC 2017 7 93) Stock Photo
RMKWDHY9–AFTER SIR CHRISTOPHER WREN, by Charles Demuth, 1920, American painting, watercolor, gouache. The old Center Methodist Episcopal Church in Provincetown, Massachusetts, painted with Precisionist ruled lines, geometric forms, and crossing beams of light (BSLOC 2017 7 93)
MACHINERY, by Charles Demuth, 1920, American painting, gouache, and graphite on cardboard. This work is based on industrial architecture in Demuths hometown of Lancaster, Pennsylvania. Minimally abstracted with elegant lines and forms, the rooftop machinery with a background of factory is clearly depicted (BSLOC 2017 7 94) Stock Photo
RMKWDKH7–MACHINERY, by Charles Demuth, 1920, American painting, gouache, and graphite on cardboard. This work is based on industrial architecture in Demuths hometown of Lancaster, Pennsylvania. Minimally abstracted with elegant lines and forms, the rooftop machinery with a background of factory is clearly depicted (BSLOC 2017 7 94)
PORTRAIT OF A GERMAN OFFICIER, by Marsden Hartley, 1914, American painting, oil on canvas. Hartley’s composition is an abstract portrait of Karl von Freyburg, a Prussian lieutenant, a friend of the artist who died in World War 1. Von Freyburg is portrayed symbolically with the initials, K.v.F.; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously (BSLOC 2017 7 103) Stock Photo
RMKWDHNP–PORTRAIT OF A GERMAN OFFICIER, by Marsden Hartley, 1914, American painting, oil on canvas. Hartley’s composition is an abstract portrait of Karl von Freyburg, a Prussian lieutenant, a friend of the artist who died in World War 1. Von Freyburg is portrayed symbolically with the initials, K.v.F.; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously (BSLOC 2017 7 103)
PORTRAIT OF A GERMAN OFFICIER, by Marsden Hartley, 1914, American painting, oil on canvas. Hartley’s composition is an abstract portrait of Karl von Freyburg, a Prussian lieutenant, a friend of the artist who died in World War 1. Von Freyburg is portrayed symbolically with the initials, K.v.F.; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously (BSLOC 2017 7 103) Stock Photo
RMKWDKAF–PORTRAIT OF A GERMAN OFFICIER, by Marsden Hartley, 1914, American painting, oil on canvas. Hartley’s composition is an abstract portrait of Karl von Freyburg, a Prussian lieutenant, a friend of the artist who died in World War 1. Von Freyburg is portrayed symbolically with the initials, K.v.F.; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously (BSLOC 2017 7 103)
EGGPLANTS, by Charles Demuth, 1927, American painting, watercolor, and graphite on cardboard. Study of three deep purple eggplants, with white patches depicting light reflecting from their shiny surface. The artist painted with translucent watercolors, emphasizing the color, and the effect of light (BSLOC 2017 7 96) Stock Photo
RMKWDHYC–EGGPLANTS, by Charles Demuth, 1927, American painting, watercolor, and graphite on cardboard. Study of three deep purple eggplants, with white patches depicting light reflecting from their shiny surface. The artist painted with translucent watercolors, emphasizing the color, and the effect of light (BSLOC 2017 7 96)
EGGPLANTS, by Charles Demuth, 1927, American painting, watercolor, and graphite on cardboard. Study of three deep purple eggplants, with white patches depicting light reflecting from their shiny surface. The artist painted with translucent watercolors, emphasizing the color, and the effect of light (BSLOC 2017 7 96) Stock Photo
RMKWDKHA–EGGPLANTS, by Charles Demuth, 1927, American painting, watercolor, and graphite on cardboard. Study of three deep purple eggplants, with white patches depicting light reflecting from their shiny surface. The artist painted with translucent watercolors, emphasizing the color, and the effect of light (BSLOC 2017 7 96)
WHITE FLOWER, by Marsden Hartley, c. 1917, American painting, oil on wood. Still life painted in Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 105) Stock Photo
RMKWDHNW–WHITE FLOWER, by Marsden Hartley, c. 1917, American painting, oil on wood. Still life painted in Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 105)
WHITE FLOWER, by Marsden Hartley, c. 1917, American painting, oil on wood. Still life painted in Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 105) Stock Photo
RMKWDKAH–WHITE FLOWER, by Marsden Hartley, c. 1917, American painting, oil on wood. Still life painted in Hartleys personal synthesis of Cubism and German Expressionism (BSLOC 2017 7 105)
MOVEMENT NO. 5, PROVINCETOWN HOUSES, by Marsden Hartley, 1916, American oil painting. Hartley painted several houses, sailboats, and the tall Pilgrim Monument in flat, geometric forms (BSLOC 2017 7 104) Stock Photo
RMKWDHNR–MOVEMENT NO. 5, PROVINCETOWN HOUSES, by Marsden Hartley, 1916, American oil painting. Hartley painted several houses, sailboats, and the tall Pilgrim Monument in flat, geometric forms (BSLOC 2017 7 104)
MOVEMENT NO. 5, PROVINCETOWN HOUSES, by Marsden Hartley, 1916, American oil painting. Hartley painted several houses, sailboats, and the tall Pilgrim Monument in flat, geometric forms (BSLOC 2017 7 104) Stock Photo
RMKWDKAG–MOVEMENT NO. 5, PROVINCETOWN HOUSES, by Marsden Hartley, 1916, American oil painting. Hartley painted several houses, sailboats, and the tall Pilgrim Monument in flat, geometric forms (BSLOC 2017 7 104)
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