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AIC: Modern Art (Bot)

@aicmodernart.bsky.social

Sharing artworks from the Art Institute of Chicago's Modern Art department. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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AIC: Modern Art (Bot)@aicmodernart.bsky.social · 20m ago

Untitled (Soap Bubble Set) https://www.artic.edu/artworks/99769/

Lindy and Edwin Bergman Joseph Cornell Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 3h ago

Birth https://www.artic.edu/artworks/76258/

Many artists of the so-called School of Paris were of Eastern European and Jewish heritage, and many lived for a time in the ramshackle studio complex called La Ruche (The Hive). Marc Chagall, in fact, moved there in 1911 and lived near Amedeo Modigliani and Fernand Léger. "In La Ruche," Chagall once said, "you either came out dead or famous." Liberated from the often-strict training of their homelands, these artists found vibrant artistic interchange and unparalleled exhibition opportunities. Chagall, for example, merged new, modern styles like Cubism, Expressionism, and Futurism with personal visions and native traditions. The results of this stimulating interchange can be seen in Birth.

Gift of Mr. and Mrs. Maurice E. Culberg

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 17h ago

Untitled (Two Death's Heads) https://www.artic.edu/artworks/118729/

Lindy and Edwin Bergman Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 21h ago

Acolo https://www.artic.edu/artworks/118657/

Lindy and Edwin Bergman Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 22h ago

L'Improviste https://www.artic.edu/artworks/222570/

Through prior bequest of Mima de Manziarly Porter

AIC: Modern Art (Bot)@aicmodernart.bsky.social · yesterday

Untitled (Hôtel de l'Etoile) https://www.artic.edu/artworks/99777/

Lindy and Edwin Bergman Joseph Cornell Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · yesterday

Étude No. 1 https://www.artic.edu/artworks/242223/

Widely considered Georges Vantongerloo’s first abstract painting, Étude No. 1 is the culmination of a series of increasingly complex geometric analyses of a seated female figure. Although difficult to discern within the cascades of overlapping circles, a body starts to emerge when we direct our eyes toward the red triangle at bottom. From this sharply pointed toe, legs and torso ascend, rising up along an axis that is also the physical centerline of the painting. Early critics sometimes faulted Vantongerloo for the draft-like or unfinished appearance of his work from this period, alluded to in the picture’s title. But the artist himself admired and sought out this hazy, lightly painted look, where interlocking solids and voids might suggest bodies in a state of perpetual motion.

Through prior bequest of Joseph Winterbotham; partial gift of the Goldberg Family

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 2d ago

Painting (The Circus Horse) https://www.artic.edu/artworks/120542/

Gift of Mary and Leigh Block

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 2d ago

Still Life with Geranium https://www.artic.edu/artworks/87045/

Joseph Winterbotham Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 2d ago

Untitled (Sun Box) https://www.artic.edu/artworks/99785/

Lindy and Edwin Bergman Joseph Cornell Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 2d ago

Landscape (Bordeaux II) https://www.artic.edu/artworks/68407/

Bequest of Kate L. Brewster

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 2d ago

The Lamps https://www.artic.edu/artworks/118671/

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 3d ago

Solitaire https://www.artic.edu/artworks/20509/

Balthus was born into an educated and artistic, but impoverished, family of Polish aristocrats who had fled political and economic turmoil to settle in Paris. As a young man, he traveled to Italy to study such Old Masters as Piero della Francesca. Aside from this direct experience, Balthus received little formal schooling; this permitted him to develop his own unique artistic vision. In 1933 he began painting the erotically charged images for which he is best known—enigmatic scenes of young girls lost in reverie that often place the viewer in the position of voyeur.
Balthus spent most of World War II in Switzerland, where in 1943 he painted Solitaire. The striking posture of the girl, deep in thought as she considers the cards on the table, is one the artist used in a number of earlier works. The insistent verticals of the patterned wallpaper create a counterpoint to the diagonal of the girl’s back; the mysterious expression of her shadowed face contrasts with the strong, raking light that defines her delicate, long fingers. These details suggest how carefully Balthus orchestrated the painting’s unsettling emotional tenor.

Joseph Winterbotham Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 3d ago

Pastoral https://www.artic.edu/artworks/247709/

Gift of the Jacques and Yulla Lipchitz Foundation, Inc.

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 3d ago

America Windows https://www.artic.edu/artworks/109439/

At the end of World War II, Marc Chagall sought new avenues for artistic experimentation and turned to the medium of stained glass, which allowed him to explore intense color on a monumental scale. Working with master stained-glass maker Charles Marq, he executed 86 windows across Europe, Israel, and the United States. America Windows presents an unusual secular theme in his oeuvre, merging symbols of American history, the Chicago skyline, and the arts; reading from left to right, the panels represent music, painting, literature, architecture, theater, and dance.
Chagall dedicated his work to Mayor Richard J. Daley, a great supporter of public art projects in the city, with whom he had worked on The Four Seasons mosaic at Chase Tower Plaza.

A gift of Marc Chagall, the City of Chicago, and the Auxiliary Board of The Art Institute of Chicago, commemorating the American Bicentennial in memory of Mayor Richard J. Daley

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 3d ago

Leda https://www.artic.edu/artworks/79382/

Sculptor Constantin Brancusi believed the material with which he worked had its own life, a uniqueness and essence that he had to seek out in order to reveal the form contained within. In Leda, sculptural metamorphosis became the very subject of the work. According to classical mythology, the god Zeus changed into a swan in order to seduce the beautiful Leda. Brancusi explained to visitors to his studio that he chose to transform the transformation—changing Leda, rather than Zeus, into a swan. He explained, "I never could imagine a male being turned into a swan, impossible, but a woman, yes, quite easily." Brancusi envisioned the form "ceaselessly creating a new life, a new rhythm," which he enhanced by its circular concrete base, a type that he designed by 1916 and used in various sizes for many different sculptures.

Bequest of Katherine S. Dreier

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 4d ago

La Pythie Philippise https://www.artic.edu/artworks/37939/

Gift of Edward H. Weiss

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 4d ago

Spanish Physician https://www.artic.edu/artworks/145243/

Gift of Mr. and Mrs. Joseph R. Shapiro

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 4d ago

Adolescent Girl https://www.artic.edu/artworks/59869/

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 4d ago

Painterly Realism of a Football Player—Color Masses in the 4th Dimension https://www.artic.edu/artworks/207293/

During the summer and fall of 1915, Kazimir Malevich secluded himself to prepare for the groundbreaking exhibition 0.10 (Zero-Ten) The Last Futurist Exhibition of Paintings. Seeking to push the formal discoveries of Cubism and Futurism to their limits, to find the most essential core—the “zero”—of painting, Malevich produced a series of completely abstract works that he declared constituted an entirely new system of art. Suprematism, as he called the new style, eradicated all references to the natural world and focused instead on the inherent relationships between colored geometric shapes against the void of a subtly textured white background. In the exhibition catalogue he warned, “In naming some of the paintings I do not wish to point out what form to seek in them, but I wish to indicate that real forms were approached in many cases as the ground for formless painterly masses from which a painterly picture was created, quite unrelated to nature.” Painterly Realism of a Football Player—Color Masses in the 4th Dimension belongs to this very first group of Suprematist works. The subtitle refers to the mathematical theory of fourth dimensional space, a concept appropriated by many early twentieth-century artists to justify their representation of truths beyond immediate sensory perception.

Through prior gifts of Charles H. and Mary F. S. Worcester Collection; Mrs. Albert D. Lasker in memory of her husband, Albert D. Lasker; and Mr. and Mrs. Lewis Larned Coburn Memorial Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 4d ago

Untitled (Bird) https://www.artic.edu/artworks/99788/

Lindy and Edwin Bergman Joseph Cornell Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 5d ago

Still Life Filled with Space https://www.artic.edu/artworks/185764/

This still life is a prime example of Purism, a style developed in 1918 by the architect Charles-Édouard Jeanneret (later called Le Corbusier) and the painter Amédée Ozenfant and championed in their journal, L’Esprit nouveau (The New Spirit). Promoting the elimination of the picturesque in favor of mathematical order and logic, Purist artists, including Fernand Léger, sought to represent the modern, "universal" forms of the world—especially machine-made objects—in a precise and balanced way as part of their effort to promote a new, modern classicism. Despite the generally smooth, brushless style of Purist pictures, Still Life Filled with Space has an unusual amount of brushwork and texture, notably in the patterned border, which the artist made by dragging a comblike tool repeatedly through the wet white paint.

Bequest of Richard S. Zeisler

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 5d ago

Lozenge Composition with Yellow, Black, Blue, Red, and Gray https://www.artic.edu/artworks/109819/

Although Piet Mondrian’s abstractions may seem far removed from nature, his basic vision was rooted in landscape, especially the flat geography of his native Holland. Beginning with his early naturalistic landscapes, he reduced natural forms to their simplest linear and colored equivalents to suggest their unity and order. Eventually he eliminated such forms altogether, developing a pure visual language of verticals, horizontals, and primary colors that he believed expressed universal forces.
In Lozenge Composition with Yellow, Black, Blue, Red, and Gray Mondrian rotated a square canvas to create a dynamic relationship between the rectilinear composition and the diagonal lines of the edges of the canvas. Deceptively simple, his works are the result of constant adjustment to achieve absolute balance and harmony, and they reveal an exacting attention to the subtle relations between lines, shapes, and colors. The artist hoped that his paintings would point the way to a utopian future. This goal was first formulated in Holland around 1916–17 by Mondrian and a small group of like-minded artists and architects who collectively referred to their aesthetic as De Stijl (The Style). Their ideas have been extraordinarily influential for all aspects of modern design, from architecture and fashion to household objects.

Gift of Edgar Kaufmann, Jr.

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 5d ago

The Railway Crossing (Sketch) https://www.artic.edu/artworks/79600/

Joseph Winterbotham Collection; gift of Mrs. Patrick Hill in memory of Rue Winterbotham Carpenter

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 5d ago

Composition https://www.artic.edu/artworks/53001/

Bequest of Maxine Kunstadter

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 5d ago

Champs de Mars: The Red Tower https://www.artic.edu/artworks/9503/

Robert Delaunay was four years old when the Eiffel Tower was erected in Paris in the public green space known as the Champ de Mars. One of many artists to depict the landmark, Delaunay did a series of Eiffel Tower paintings, of which the Art Institute’s example is among the best known. The artist infused the dynamism of modern life into this image by employing multiple viewpoints, rhythmic fragmentation of form, and strong color contrasts. Delaunay accented the structure’s towering presence by framing it with tall buildings and placing smaller, shorter buildings, seen from above, at its base. The top of the tower seems to soar, its massive structure augmented by winglike clouds and patches of light-filled sky.
The artist first showed this painting in the winter of 1912, at the Galerie Barbazanges in Paris, where Guillaume Apollinaire described the work in a review as “unfinished, whether by design or accident.” Although Delaunay’s intent is not recorded, it is certain that by 1923, when this work was illustrated in the pages of the Bulletin de l’effort modern, it looked as it does today: the artist had repainted portions of the canvas and filled areas of reserve with paint.

Joseph Winterbotham Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 6d ago

Still Life with Flowers https://www.artic.edu/artworks/80574/

Bequest of Joseph Winterbotham

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 6d ago

The Dance https://www.artic.edu/artworks/62312/

Mary and Earle Ludgin Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 6d ago

The Gambler https://www.artic.edu/artworks/118715/

Lindy and Edwin Bergman Collection

AIC: Modern Art (Bot)@aicmodernart.bsky.social · 6d ago

Five Heads https://www.artic.edu/artworks/63776/

Mary and Earle Ludgin Collection