Stan Washburn (American, b. 1943)

Gallery with Triptych

  • Date: 1998
  • Medium: Oil on canvas
  • Object Dimensions: 30 1/4 x 44 1/4 in. (76.84 x 112.4 cm)
  • Credit Line: Gift of the artist, 2002.008.02
  • Photo Credit: Jueqian Fang
  • Verbal Description: This is a painting of art museum galleries; it’s rendered in a realistic style, but without any fine details. The walls are a warm gray and the floors are a honey-colored hardwood. The perspective is from outside of the central gallery, as evidenced by the door frame that is cropped in the foreground on the far left side of the composition. The corner of the central gallery is to the right of this frame, about one-third of the way across the canvas. On either side of this corner are two openings to other galleries. The gallery on the right has a figure who is white, with short gray hair, and wearing a long blue dress. To the right of this figure, back in the central gallery, are two white figures standing close together—possibly in conversation—looking at a large, arched triptych with a thin gold frame. Both figures have short, cropped gray hair and are wearing shorts, t-shirts, and sandals. The one on the left is wearing a denim-colored shirt and gray shorts, the figure on the right has a khaki shirt with peach shorts. The triptych they’re looking at is cropped on the right side, and the detail is blurred, but the composition is likely religious, as there appears to be an angel-type figure in the center. The other artworks visible in the galleries are difficult to make out, but they’re comparatively much smaller with golden frames.

Catherine Murphy (American, b. 1946)

Bedside Still Life

  • Date: 1982
  • Medium: Oil on canvas
  • Object Dimensions: 27 x 19 in. (68.58 x 48.26 cm)
  • Credit Line: Gift of Howard A. and Judith Tullman, 2001.010
  • Photo Credit: Jueqian Fang
  • Copyright: Copyright held by Catherine Murphy / courtesy Knoedler & Company, New York

Peter Ellenshaw (English, 1913-2007)

Sierra Springtime

  • Date: 1973
  • Medium: Oil on canvas
  • Object Dimensions: 30 x 48 in. (76.2 x 121.92 cm)
  • Credit Line: Gift of Jane Schafer, in memory of her husband Francis W. Schafer, 2000.006.02
  • Photo Credit: Jueqian Fang

Fred Machetanz (American, 1908-2002)

Ice Fall - Knik Glacier

  • Date: 1953
  • Medium: Lithograph
  • Object Dimensions: 16 x 11 3/8 in. (40.64 x 28.89 cm)
  • Credit Line: Museum Purchase, 1995.001.13
  • Photo Credit: Jueqian Fang
  • Verbal Description: This grainy black-and-white print shows a tiny, silhouetted human figure and a four-legged animal in the foreground. The human looks to be in peril, with their arms up above their head and body turned to shield themselves because the true subject of the image is a column of ice plummeting into a body of water. The scale of this ice is massive—at least ten times the height of the figure and more than four times as wide. The ice fills most of the composition, reaching diagonally across from the left corner, almost to the top right. A small triangle of pure black sky peaks out just above the cap in the top right corner of the composition, balanced by another, slightly larger, black triangle in the bottom right corner representing a cliffside where the figures are located. Just above the figures, where the ice crashes into the water, large waves are created, resembling plumes of smoke. The print has a white border around it, with handwritten text in graphite at the bottom, reading: “‘Ice Fall Knick Glacier,’ Edition 100, Fred Machetanz.”

Will Barnet (American, 1911-2012)

Between Life and Life

  • Date: 1998
  • Medium: Lithograph
  • Object Dimensions: 28 x 29 3/4 in. (71.12 x 75.57 cm)
  • Credit Line: Gift of Mr. and Mrs. Ashton Ballou, 2000.001.02
  • Photo Credit: Jueqian Fang
  • Verbal Description: This grayscale print looks like a charcoal sketch. The viewer’s perspective is standing being behind someone looking at themselves in the mirror. The composition is divided in half vertically by five straight, vertical lines that make up the frame of a mirror. The left side of the composition shows the back of someone’s head. Their dark hair is pulled back into a low bun. They wear a plain, dark, long-sleeved turtleneck. Their right hand is lifted and holding a mostly full wine glass. The right side is their reflection. Their hair is pulled back from their face and they have thick, dark eyebrows and wide, almond-shaped eyes. Their long slender nose reaches down and nearly touches their full lips. Their expression is neutral, and they gaze back at themselves. The background reflected is an interior, although a lot of the details are cropped out. Clean lines imply two picture frames behind their head and a door frame on the far right of the composition that opens to a dark room.

Martha Mayer Erlebacher (American, b. 1937)

Still Life #1

  • Date: 1977
  • Medium: Lithograph and chine collé
  • Object Dimensions: 25 x 33 in. (63.5 x 83.82 cm)
  • Credit Line: Museum Purchase, 1999.011.01
  • Photo Credit: Jueqian Fang

Carol Mothner (American, b. 1943)

The Wait

  • Date: 1998
  • Medium: Egg tempera on panel
  • Object Dimensions: 15 3/4 x 15 3/4 in. (40.01 x 40.01 cm)
  • Credit Line: Museum Purchase, 1999.005
  • Photo Credit: Jueqian Fang

Peter Poskas (American, b. 1939)

Sea Breeze

  • Date: 1997
  • Medium: Oil on panel
  • Object Dimensions: 11 5/8 x 18 in. (29.53 x 45.72 cm)
  • Credit Line: Museum Purchase, 1997.011
  • Photo Credit: Jueqian Fang

Yvonne Mozée (American, 1924-2009)

Portrait of Machetanz

  • Date: n.d.
  • Medium: Gelatin silver print
  • Object Dimensions: 14 x 10 7/8 in. (35.56 x 27.62 cm)
  • Credit Line: Museum Purchase, 1981.003
  • Photo Credit: Jueqian Fang

Byron Bratt (American, b. 1952)

The Changeling

  • Date: 1980
  • Medium: Mezzotint and acrylic wash
  • Object Dimensions: 18 x 18 in. (45.72 x 45.72 cm)
  • Credit Line: Gift of the artist, 1999.004.03
  • Photo Credit: Jueqian Fang
  • Verbal Description: This square, painted print mimics a taxidermy butterfly specimen box. There are nine distinct, symmetrical butterflies displayed neatly in three rows and three columns. The background is a medium brown texture, perhaps burlap. The top right butterfly is camouflaged, its wings composed of the same burlap-like material. Moving down, the center-right butterfly is two-toned with brown horizontal stripes and the one below is solid black except for a red dot on either side of its abdomen. This bottom right butterfly is the smallest of the group and is perched on a butter yellow, soft-petaled flower, like a pansy. Returning to the top, middle column is the longest butterfly of the group, its wings have pink and chocolate splotches like a cow’s spots. Below, the center butterfly’s wings are visually linked to the bottom right one. That same butter yellow color creates a thick border around a black x at the center. At the bottom of the center row, a squat, dark grey butterfly adds some flourish with its curvy wings. Moving back up, the top left butterfly looks more like a tropical plant; what would be the midribs create an x shape radiating out from its body, splaying dark green veins diagonally across each mint green wing. Underneath is the least naturalistic pattern of the bunch. Running vertically down the center of each side of its wings is a chain of overlapping black and orange diamonds on misty gray wings. The bottom left corner has a butterfly with wings more like a bird. The top portion of the wings look like gray primary feathers reaching out to soar, the bottom wings mimic gray- and black-striped tailfeathers.
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