Gallery 50

Lower Manhattan is one of the first paintings Grosz executed after moving to the United States. This scene captures the energy and promise of New York City as seen from New York Harbor, the entryway to his new life and the haven from the ominous backdrop of life in his native Berlin, where he was known for his cynical political caricatures. The move to the United States helped Grosz explore new artistic avenues, and the grandeur of the modern metropolis pushed him in exciting new directions.

By the 1920s Stettheimer developed her own take on still-life painting; her “eyegays” feature tabletop floral arrangements as the means for exploring the effects of her brilliant palette. In 1946 the critic Henry McBride commented that “the blossoms in her vases wriggled upward with a whimsicality in the stems.” In this work, Stettheimer used bold, vibrating colors to animate a bowl of phlox, a perennial wildflower.

By the 1920s Stettheimer developed her own take on still-life painting; her “eyegays” feature tabletop floral arrangements as the means for exploring the effects of her brilliant palette. In 1946 the critic Henry McBride commented that “the blossoms in her vases wriggled upward with a whimsicality in the stems.” In this work, Stettheimer used bold, vibrating colors to animate a bowl of phlox, a perennial wildflower.

The model for this painting is believed to have been Felicia Marsh, the wife of painter Reginald Marsh. She poses in Koch’s studio, which overlooked the Queensboro Bridge in New York City. Although he built his reputation as a painter of wealthy New Yorkers in their elegant interiors, Koch painted this simple scene for his own pleasure. He later recalled, “It was a picture I sweated out, but the finished canvas looks fresh.”

The model for this painting is believed to have been Felicia Marsh, the wife of painter Reginald Marsh. She poses in Koch’s studio, which overlooked the Queensboro Bridge in New York City. Although he built his reputation as a painter of wealthy New Yorkers in their elegant interiors, Koch painted this simple scene for his own pleasure. He later recalled, “It was a picture I sweated out, but the finished canvas looks fresh.”

After Dawson returned from Europe, he increasingly devoted more of his attention to painting the human figure. He used Renaissance and Baroque paintings as the basis for his own cubist reinterpretations. These works display a forceful dynamism, suggesting active movement and dancing light—effects that can be seen in Venus. Dawson was not only interested in transforming the figure, he also attempted to change the shadows and voids around it.

After Dawson returned from Europe, he increasingly devoted more of his attention to painting the human figure. He used Renaissance and Baroque paintings as the basis for his own cubist reinterpretations. These works display a forceful dynamism, suggesting active movement and dancing light—effects that can be seen in Venus. Dawson was not only interested in transforming the figure, he also attempted to change the shadows and voids around it.

Weber painted a series of unidentified sitters set against simple backgrounds. The subject in this painting resembles the artist’s wife, Frances. She may have served as the inspiration for some of Weber’s unidentified portraits. While portraits make up a smaller portion of Weber’s body of work, these works illustrate his enduring interest in the work of artists he admired, such as Henri Matisse, Henri Rousseau, and Paul Cézanne, as well as his ongoing interest in folk art.

Weber painted a series of unidentified sitters set against simple backgrounds. The subject in this painting resembles the artist’s wife, Frances. She may have served as the inspiration for some of Weber’s unidentified portraits. While portraits make up a smaller portion of Weber’s body of work, these works illustrate his enduring interest in the work of artists he admired, such as Henri Matisse, Henri Rousseau, and Paul Cézanne, as well as his ongoing interest in folk art.

Rivera promoted a living link between ancient and modern Mexican art. This painting recalls Olmec stone figures or Jalisco ceramics, which could have served as models for these women. With their simplicity and grandeur, the two women also resemble the nearly contemporary classical figures of Pablo Picasso. This image may have been derived from studies Rivera made at open-air markets, and the subject of mothers and children interested him throughout his career.