Post Modernism
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Félix Vallotton, The Wind, 1910.
Félix Vallotton, The Wind, 1910.
Vista de la fachada posterior de las salas principales y la rampa al ala de los dormitorios, Casa Gr
Vista de la fachada posterior de las salas principales y la rampa al ala de los dormitorios, Casa Gr
Fractal II. /Whispering Leaves of the Digital Treesacrylic, oil, carving on birch panel30x40 inches
Fractal II. /Whispering Leaves of the Digital Treesacrylic, oil, carving on birch panel30x40 inches
Lucifer.1910.115 x 72 cm.Lithographed poster.Richard Roland Holst.
Lucifer.1910.115 x 72 cm.Lithographed poster.Richard Roland Holst.
Braun Multilook, details of the poster for the caleidoscope, around 1963.
Braun Multilook, details of the poster for the caleidoscope, around 1963.
Rosalind Krauss, ‘Sculpture in the Expanded Field’.
Rosalind Krauss, ‘Sculpture in the Expanded Field’.
File Under: New Sincerity - how 2 achieve it, how 2overcome it and other memes of contemporary liter
File Under: New Sincerity - how 2 achieve it, how 2overcome it and other memes of contemporary liter
Decorative Figure on an Ornamental Background, Henri Matisse, 1925
Decorative Figure on an Ornamental Background, Henri Matisse, 1925
Tarjetas postales del SCT Metro de la Ciudad de México, línea 1 y 2.InsurgentesBellas ArtesTrayecto
Tarjetas postales del SCT Metro de la Ciudad de México, línea 1 y 2.InsurgentesBellas ArtesTrayecto
Illustrations by Henri Matisse for Florilège des Amours de Ronsard (Anthology of Love by Ronsard). P
Illustrations by Henri Matisse for Florilège des Amours de Ronsard (Anthology of Love by Ronsard). P
Series of six illustrations of  Polyphème (Polyphemus) by Henri Matisse, for James Joyce’s Ulysses.
Series of six illustrations of  Polyphème (Polyphemus) by Henri Matisse, for James Joyce’s Ulysses.
LA LUNE NOIRE LA MOUSTACHE EN GENDRESBY KITASONO KATUE 1963
LA LUNE NOIRE LA MOUSTACHE EN GENDRESBY KITASONO KATUE 1963
L'Enlèvement d'Europe (The Abduction of Europa) by Henri MatisseFrench, 1929oil on canvasNational Ga
L'Enlèvement d'Europe (The Abduction of Europa) by Henri MatisseFrench, 1929oil on canvasNational Ga
Illustrations by Henri Matisse for Henri de Montherlant’s Pasiphaé, Chant de Minos (Les crétois) [Pa
Illustrations by Henri Matisse for Henri de Montherlant’s Pasiphaé, Chant de Minos (Les crétois) [Pa
Orphée by Henri MatisseFrench, 1945ink on paperprivate collection
Orphée by Henri MatisseFrench, 1945ink on paperprivate collection
Series of four illustrations of Circé (Circe) by Henri Matisse, for James Joyce’s Ulysses. Published
Series of four illustrations of Circé (Circe) by Henri Matisse, for James Joyce’s Ulysses. Published
Illustrations by Henri Matisse from the additional suite of twelve linocuts for Pasiphaé, Chant de M
Illustrations by Henri Matisse from the additional suite of twelve linocuts for Pasiphaé, Chant de M
More illustrations by Henri Matisse for Florilège des Amours de Ronsard (Anthology of Love by Ronsar
More illustrations by Henri Matisse for Florilège des Amours de Ronsard (Anthology of Love by Ronsar
Cover and title page of James Joyce’s Ulysses, with illustrations by Henri Matisse. Published in 193
Cover and title page of James Joyce’s Ulysses, with illustrations by Henri Matisse. Published in 193
Illustrations by Henri Matisse for Henri de Montherlant’s Pasiphaé, Chant de Minos (Les crétois) [Pa
Illustrations by Henri Matisse for Henri de Montherlant’s Pasiphaé, Chant de Minos (Les crétois) [Pa
Skull of a Skeleton with Burning Cigarette by Vincent van Gogh, 1886.
Skull of a Skeleton with Burning Cigarette by Vincent van Gogh, 1886.
Pablo Picasso — Child with Dove, 1901.  Painting: oil on canvas, 73 x 54 cm. National Gallery, Lond
Pablo Picasso — Child with Dove, 1901.  Painting: oil on canvas, 73 x 54 cm. National Gallery, Lond
Adolph Gottlieb Composition 1956Gouache on paper20 ¼ x 29 ¼ ” On view now at The Hyde
Adolph Gottlieb Composition 1956Gouache on paper20 ¼ x 29 ¼ ” On view now at The Hyde
“The tradition of modern art is a tradition of revolution: there’s one revolution after another — fo
“The tradition of modern art is a tradition of revolution: there’s one revolution after another — fo
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