Fine Art Images Posted to Binaries Groups (Delvaux, Delaunay, Hepworth, Picasso)
Mark Harden
High-resolution JPEGs of the following works have been posted to
alt.binaries.pictures.misc and alt.binaries.pictures.fine-art.misc.
These images have been added to the Artchive at the texas.net Museum
of Art <http://lonestar.texas.net/~mharden>, augmenting the more than
1,900 already included in the collection.
You can have your own free CD-ROM of the entire site by joining the
Patron Program <http://lonestar.texas.net/~mharden/patron/patron.html>
DELVAUX, Paul
The Awakening of the Forest
1939
Oil on canvas
170.2 x 225.4 cm
The Art Institute of Chicago
DELAUNAY, Robert
Champ de Mars: The Red Tower
1911/23
Oil on canvas
160.7 x 128.6 cm
The Art Institute of Chicago
HEPWORTH, Barbara
Two Figures
1954-55
Teak
54 in. high
Collection Mr and Mrs Solomon Byron Smith, Lake Forest, Illinois
PICASSO, Pablo
Portrait of Daniel-Henry Kahnweiler
Paris, autumn-winter 1910
Oil on canvas
39 1/2 x 28 5/8 in. (100.6 x 72.8 cm.)
The Art Institute of Chicago
Daix 368
Golding, "Cubism, A History and an Analysis, 1907-1914":
"The 'Portrait of Kahnweiler'...may have helped Picasso toward a
solution of [the problem of approaching abstraction], since in dealing
with a particular individual he was forced to find a less difficult
and hermetic means of expression; in any case the portrait serves to
illustrate what steps Picasso took to make his work once again more
legible. Picasso worked from a photograph he had taken of his friend
and dealer who recorded that nevertheless Picasso demanded some twenty
sittings...[T]he subject is made identifiable by the retention or
introduction of 'keys' or 'signs' within the looser, more generalized,
structure of the figure. Distinctive features of the sitter, his eyes
and hands for example, are rendered with a greater degree of
naturalism, and these, together with the stimuli provided by other
details such as a button on M. Kahnweiler's coat, a lock of hair, or
the still life to the side of him, permit a reconstruction of the
subject and his surroundings; (one of the New Caledonian sculptures
owned by Picasso appears in a ghost-like form to the left of the
sitter); and these more realistic touches in turn forced the painter
to restore or preserve the naturalistic proportions of the
figure...[W]hile all subsequent paintings are understandably not as
easily legible as this portrait, almost all of them do contain some
kind of clue or stimulus which serves to identify the subject, and
which renders it immediately recognizable to anyone familliar with
Cubist iconography."
Mark Harden
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