Art

Kauffer spent the majority of his career working as a graphic designer in England, creating advertising posters that reflected his interest in Cubism, Italian Futurism, and Vorticism, a British art movement with affinities to Cubist abstraction and Futurism’s radical embrace of the machine. By the late 1920s Kauffer was also designing similarly inspired textiles and theatrical sets. Woven in wool and jute by the Wilton Royal Carpet Factory, this rug, with its collagelike combination of geometric shapes and planes of color, demonstrates Kauffer’s ongoing engagement with abstract design.

Was a contender for community banner.

This is one of three views of Gardanne, a hill town near Aix-en-Provence where Cézanne worked from the summer of 1885 through the spring of 1886. The steeple of the local church crowns the cluster of red-roofed buildings which animate the sloping terrain. Faceted and geometric, the structures anticipate early-twentieth-century Cubism.

Maybe my favourite Cezanne painting!

The famous writer and expatriate Gertrude Stein was among the first Americans to respond enthusiastically to European avant-garde art. She held weekly salons in her Paris apartment populated by European and American artists and writers. For Picasso, Stein’s early patronage and friendship was critical to his success. He painted this portrait of her between 1905 and 1906 at the end of his so-called "Rose Period." He reduces her body to simple masses—a foreshadowing of his adoption of Cubism—and portrays her face like a mask with heavy lidded eyes, reflecting his recent encounter with Iberian sculpture.

Trade cards from the "Terrors of America" series (N136), issued in a set of 50 cards in 1889 by W. Duke Sons & Co. to promote Honest Long Cut Tobacco. The original lithographs for the series were created by Knapp & Company, N.Y. This is the second time that Duke released the "Terrors of America" series. The cards of the first set (N88) are smaller than N136 cards.

Publisher Issued by W. Duke, Sons & Co. American Lithographer Lithography by Knapp & Company American 1888–89

The Futurists’ celebration of the fast pace and mechanical power of the modern world is emphasized here in the sculpture’s dynamism and energy. The figure’s marching silhouette appears deformed by wind and speed, while its sleek metal contours allude to machinery. World War I broke out the year after Boccioni created this work. Believing that modern technological warfare would shatter Italy’s obsession with the classical past, the Futurists welcomed the conflict. Tragically, Boccioni was killed in action in 1916, at the age of thirty-four.

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Mehrgarh was the home to the earliest known cotton farmers in history.

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