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Maria Coma, from Red Sand, 2013

Juul Kraijer

Bruno Munari, from Speak Italian: The Fine Art of the Gesture, 1958 (via)

Cindy ShermanUntitled (#153), 1985

Timm Ulrichs

  1. Ein Stuhl und sein Schatten (A Chair and Its Shadow), 1968/80, Wood, lacquer
  2. Der erste sitzende Stuhl (The First Sitting Chair), 1970, Painted wood

Claude Monet, La maison à travers les roses, 1925

Mark RothkoBlue and Grey, 1962, oil on canvas

I’m not an abstractionist… I’m not interested in relationships of color or forms… I’m interested only in expressing basic human emotions—tragedy, ecstasy, doom and so on… The people who weep before my pictures are having the same religious experience I had when I painted them.”—Mark Rothko, 1956

Paintings by Vilhelm Hammershøi (1864-1916)

Henri MatisseBlue Nude IV, 1952, gouache on paper cut out

Robert SmithsonSpiral JettyRozel Point, Great Salt Lake, Utah. April 1970, mud, precipitated salt crystals, rocks, water coil 1500’ long and 15’ wide

Sinta Werner and Markus WüsteVersionen, 2009, wood, plaster, paint

Paintings by Hilma af Klint (1862-1944)

Five years before Wassily Kandinsky (he of the book Concerning the Spiritual In Art, 1910), before Piet Mondrian and Kazimir Malevich, before the images of Carl Jung and Rudolf Steiner—who dismissed her ideas as wrong—was this revolutionary artist and abstractionist, Hilma af Klint, possibly the first purely abstract painter to produced non-objective works in the early 1900s.

Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Her oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentation. Her multifaceted imagery strives to give insights into the different dimensions of existence, where microcosm and macrocosm reflect one another.

Ruth Thorne-Thomson

Fragment of the face of a queen, yellow jasper, c. 1353–1336 B.C. Middle Egypt

Ricardo CasesPaloma al Aire, 2011