By Dan Segar | Pretentiousness, confusion and obscurity for self-proclaimed hipsters.
Paul Cezanne (French, 1839-1906), Bottom of the Ravine. Oil on canvas, 73 x 54 cm
<b>Adolph Gottlieb</b>: Sentinel (1951)
<b>Giorgio de Chirico</b>: Mercury’s Meditation (c.1973)
<b>Wayne Thiebaud</b>: Mound and Cloud (1972)
<b>Wayne Thiebaud</b>: Five Hammers (1972)
<b>Marsden Hartley</b>: Landscape, Vence (1925-1926)
<b>Maurits Cornelis Escher</b> (Dutch, 1898-1972)<p>Contrast (Order and Chaos), 1950<p>Lithograph, 28 x 28 cm
John Claridge. The Street Lamp. 1968
Composition in Gray (Rag-time) 1919
(from) <i>Gestaltete Umwelt</i>, 1960, Catalogue designed by Gruppe E5 (led by Otl Aicher) at the HfG Ulm
Jeffrey Hein was born in 1974 in New Windsor, NY. He is an artist whose paintings seek to show a harmony between both classical technique and modern pop art imagery.<p>“Rose Colored Glasses”
Frances Anne Kemble as Isabella in <i>Measure for Measure</i> (1836). Thomas Sully (American, 1783-1872). Oil on canvas. PAFA.<p>This portrait exemplifies the artist’s technique at its best, from the creamy flesh tones to the plain background that adds to the sense of freshness and immediacy. The work records the abiding friendship between the painter and Frances Anne (Fanny) Kemble, a British actress who debuted on the London stage as Juliet while a teenager.
<b>Carel Weight</b>: The Day of Doom [1962-1972]
<b>Adrian Feint</b>: Autumn Morning, Kurrajong (1942)
<b>Edmund Lewandowski</b>: Farm Buildings (1940)
<b>Jeffrey Smart</b>: The vacant allotment (1947)
Wayne Thiebaud (American, b. 1920), <i>Circle Street</i>, 1985. Oil on canvas, 48 x 48 in.
<i>Begijnhof in de Herfst / Begijnhof in autumn</i>, Eduard Karsen. Dutch (1860 - 1941)
<b>Yashima Gakutei</b> – Crabs near a tide line, Japan, 1827
<i>Place de la Contrescarpe, Paris</i>, 1921, Charley Toorop. Dutch (1891 - 1955)<br>- Oil on Canvas -