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With The Bathing Cove, circa 1918, the American modernist Maurice Prendergast continued to explore a theme that had preoccupied him for decades: groups of figures, decoratively arranged into a frieze-like formation, in a bucolic outdoor setting. Here, bathers are gathered on a grassy knoll by the water’s edge, while sailboats bob in the distance.
Martin Puryear’s Cane reveals the artist’s ongoing interest in African American history and culture. Sculptures in the artist’s oeuvre, such as Some Lines for Jim Beckwourth, 1978, collection of the artist, and Ladder for Booker T. Washington, 1996, Modern Art Museum, Fort Worth, pay tribute to significant African American figures. Cane is Puryear’s response to an important literary work from the Harlem Renaissance, Cane by Jean Toomer.
Painted in the mid-1960s, after the heyday of Abstract Expressionism and during the ascendancy of Minimalism and Pop Art, Belle is a compelling example of Robert Gwathmey’s steadfast commitment to Social Realism. Its acquisition for Reynolda House Museum of American Art is well documented and its meaning has been thoroughly explicated by the artist and others. In November 1978, Barbara B.
Pool below bridge and dam at Lake Katharine.
This William and Mary style long bench with needlepoint tapestry upholstery is distinguished by six block and trumpet-turned legs ending in whorl-carved feet and joined by two pairs of curved x-stretchers let into the blocks. The pairs of stretchers are joined by turned finials. The benches are covered with polychrome floral wool needlepoint upholstery with a parrot worked into each end and outlined around the bottom by wool tassled gimp.