“Kittery House” is an example Bruce Peeso’s work before he changed his style in 1995.
This textile is representative of King Glele, who ruled the Kingdom of Dahomey (now Benin in West Africa) from 1858 to 1898. Gift of Mr. Michael Davis.
Using his photographs as source material, John Salt captured vehicles mangled to the point of violence, transforming them into haunting icons of decay.
Punu culture has a matrilineal lineage, making the Punu Maiden Spirit Mask an important facet in this community’s traditions.
Carl Holty’s drawings feel as if they are in quiet dialogue with each other, balancing movement and stillness, structure and improvisation.
The 1950 lithograph prints from the 1948 painting were distributed to Georgia public schools and libraries with support from Robert Woodruff.
This 20th-century painting once owned by William Randolph Hearst depicts a night party, with three elegantly dressed women on a balcony.
Emilio B. Sanchez’s works of the 1950s are stylized and figurative. Themes include portraits of friends and models, New York views, and tropical landscapes.
In “Shoppers,” Kenneth Hays Miller shows the bustle of a shop-filled street corner while expressing the loneliness within the urban crowd.
Joseph Henry Sharp, an important historian of the West, in “Indian Encampment” (1906) depicts the Western frontier and life in a Sioux hunting camp.
Soft edges, indistinct space, and expressive marks in “Man with Monocle” create a drama that moves this portrait beyond being a simple likeness.
Reginald Marsh’s works, including “Street Girl,” depict the city as a place of constant energy and excitement.
The poetic and lyrical qualities of “Reclining Nude” evoke William Meyerowitz’s love of music.
With its bright colors, loose brushwork, and everyday subject matter, “The Bathing Hour” (1915) illustrates the influence of Impressionism on American artists.
Cedric Smith uses a cotton plant as a rider’s crop to illustrate the rider looking toward a better, or “rosier,” future.
The fascination with natural phenomenon, tragic subject matter, dramatic lighting and vigorous brushwork are hallmarks of Romantic painting.
Moses Soyer’s subject is a young girl lost in a world of private thoughts. His portrait depicts the girl with a stark honesty.