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Markus Lüpertz

(German, born 1941) Portrait, 1966

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1. Establishing the brow and centre line

2. Marking out the main divisions

3. Establishing the form of the head

4. Placing the features

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CARLO CARRÀ

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The artist's father in death (crayon on paper))

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James Ensor (1860-1949), Mon Portrait squelettisé (Skeletonised Self-Portrait). 

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James Ensor, lost and found edges

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Hands at the Cuevas de las Manos upon Río Pinturas, near the town of Perito Moreno in Santa Cruz Province, Argentina.

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The Chauvet Cave painters were Aurignacians.Aurignacians, the first anatomically modern humans in Europe, lived during the Upper Paleolithic, or Old Stone Age, between 46,000 and 26,000 years ago.  Ancient humans visited Chauvet Cave during two separate millennia.

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Auguste Edouart, 1843 portrait of Laura Dewey Bridgman” (left); and 1841 portrait of Chin Sung (right)

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Kara Walker has used silhouette cutouts as a signature element in her large-scale tableaux and projections. Yet her appropriation of this popular nineteenth-century portrait technique diverges starkly from its genteel roots. Drawing on sources that include American slave narratives, the literature of the antebellum South, and minstrel shows, her works examine racist and sexist stereotypes as well as issues of identity, narrative representation, violence, and desire. Walker has likened placing the viewer in the center of these historical retellings to “creating a monster that swallows you.”

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The "11 Configurations" series is a notable example of Arp's biomorphic abstraction, where forms are evocative of nature without directly imitating it.Arp's work in this series, like his other creations, explores the "laws of chance" and the inherent order found in nature. The portfolio reflects Arp's artistic philosophy of creating forms that grow naturally and evoke a sense of cosmic order

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Open today 10:00 a.m. to 5:00 p.m. ⸱ Always free

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Balance is the distribution of visual weight in a composition

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At the Gaîté Rochechouart (Café-concert)

ca. 1887-1888

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1887–88

Georges Seurat

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Georges Seurat. Pierrot and Colombine. c. 1887–88. Conté crayon on paper, 9 3/4 × 12 5/16″ (24.8 × 31.2 cm). The Kasama Nichido Museum of Art

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The Artist's Mother
by Georges Seurat, 1882-1883,
Conté, 12? x 9½.
Collection The Metropolitan
Museum of Art, New York, New York.

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"...the language of tone, a language based not upon lines but on the juxtaposition of relative values. It is a painterly way of drawing, of seeing in masses rather than in outlines. In tonal drawing, the eye retreats from the edges of things and sees, instead, patches of light and shade. While linear drawing favors boundaries, tonal drawing aims at dissolving these boundaries and stressing the quality of light and atmosphere that unites all objects in the visual field. It is an emotional, immediate way of seeing, closely related to vision."...

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the contour remains an artificial construction. We don’t see in lines, no matter how accustomed we are to delineating objects with them.