MoMA - Museum of Modern Art

Oil and enamel paint on canvas

Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials.

Encaustic on newspaper and cloth over canvas surmounted by four tinted-plaster faces in wood box with hinged front.

Bronze with black patina, on limestone base.

Oil on Canvas. Gallery label reads Les Demoiselles d’Avignon marks a radical break from traditional composition and perspective in painting. It depicts five naked women composed of flat, splintered planes whose faces were inspired by Iberian sculpture and African masks. The compressed space they inhabit appears to project forward in jagged shards, while a slice of melon in the still life at the bottom of the composition teeters on an upturned tabletop. Picasso unveiled the monumental painting in his Paris studio after months of revision. The Avignon of the work’s title is a reference to a street in Barcelona famed for its brothels.  

Tempera on panel. Gallery Label reads -  The setting of this work is the stark landscspe of coastal Maine. Wyeth recorded the figure, rural architecture, and open field with painstaking detail, depicting individual strands of hair and blades of grass, and painting subtle gradations of light and shadow. The subject was the artist's neighbor, a woman named Christina Olson who suffered from a degenerative muscle condition. Wyeth later observed that his goal was to "make the viewer sense that her world may be limited physically but by no means spiritually."

Oil on canvas, two panels. Gallery label reads - This frenzied spectacle set against a gridded sidewalk responds to the street riots that broke out in the United States in the 1960s. Ringgold said she wanted to show an “abstraction of what the fights were really all about, and they had a lot to do with race and class, and no one was left out.” The artist depicted the figures wearing business attire and fashionable dress to express how racial antagonisms permeate all segments of American Society. In the middle of the chaos, two children sit “trying to help each other out.” Ringgold based her composition on Picasso's Guernica (1937) - the artists responds to the atrocities of the Spanish civil war - which she regularly visited when the monumental canvas was on display at The Museum of Modern Art.