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Collection: American Art
Date: 1993
Artist/Maker: Arnaldo Roche
Classification: Paintings

Arnaldo Roche-Rabell explains that he “live[s] intensely in search of the physical and psychological life of others. In this world created on canvas everything must leave its mark.” [1] The Black Man Always Hides His Left Hand vividly demonstrates this point of view.

Collection: American Art
Date: 1830
Artist/Maker: John James Audubon
Classification: Prints

Blue Jay demonstrates John James Audubon’s mastery at creating lively compositions which he developed from both direct observation and the specimens he collected. Engraved by Robert Havell after Audubon’s original watercolor, it captures the villainous character of its subject with a restrained beauty. Plate no. 102 from the magnus opus The Birds of America, the image depicts two female and one male blue jay feasting on the eggs of an unidentified bird.

Collection: American Art
Date: 2000
Artist/Maker: Martin Puryear
Classification: Prints

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.

Collection: American Art
Date: 1927
Artist/Maker: Thomas Hart Benton
Classification: Paintings

Thomas Hart Benton painted Bootleggers, 1927, during a pivotal time in his career. Its large scale reflects his recent mural project, the American Historical Epic series. But the contemporary setting, in the Prohibition era of the 1920s, points the way toward his next project, a series he called America Today.

Collection: American Art
Date: 1978
Artist/Maker: Audrey Flack
Classification: Paintings

Audrey Flack’s Bounty, from 1978, is an extraordinarily colorful and imposing composition typical of her work as a leading exponent of Photorealism. A large rectangular canvas painted in oil over airbrushed acrylic, it relates closely to a previous work of the same year, Parrots Live Forever, now in the collection of the National Gallery of Victoria in Melbourne, Australia.

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