69 UMMA Objects
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Black and white drawing of organic forms vaguely resembling human figures flowing into one another in a room-like space. On the right hand side of the grouping stands the most recognizably humanoid figure.
Arshile Gorky (American (North American))
Study for 'Image in Xhorkom'
1931 – 1941
Gift of Mrs. Florence L. Stol
1964/2.41
Drawing on paper of abstract structure.  Pyramid shaped base supports spiraling and circular elements. 
Seymour Lipton (American (North American))
Untitled (Study for 'Defender')
1963
Gift of an Anonymous Donor
1968/2.71
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Carnival
1934 – 1967
Museum Purchase
1971/2.150.12
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Odalisque
1934 – 1967
Museum Purchase
1971/2.150.3
This print has a central image of a nude woman, depicted in blue, with long yellow hair, holding an orange, red, and green umbrella. To her right, there is another umbrella, with an orange handle and a collaged canopy. There are a number of line drawings and text (mirrored) around the second umbrella. To the right, there is a collaged face. At the bottom of the print is a blue sea and a drawing in red of a sailboat. The print is signed (l.r.) and numbered (l.l.) in pencil.
Salvador Dali (Spanish (culture or style))
Antiombrelle à atomiseurs de liquides
1975
Anonymous Gift
1981/2.110.9
In this print, there is a large creature in the center, to the left. The figure seems to be semi-hollow and missing its flesh. There are bones and other monsterous creatures to the right of the print. The artist signed (l.r.) "K. Seligmann" and numbered (l.r.) "57/70" the print in pencil.
Kurt Seligmann (American (North American))
Acteon
1947
Museum Purchase
1947/2.15
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Mineral Countenance
1934 – 1967
Museum Purchase
1971/2.150.7
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Temptation of Saint Anthony
1934 – 1967
Museum Purchase
1971/2.150.8
Creating a border, there is a large blue cylinder and a smaller yellow circle, with red border toward the middle right of the work. The last color object is a small green dot above the red-yellow circle. Throughout the work, there are black dots and markings. Creating a kind of pitchfork, there is a large black line drawing that follows three of the sides of the blue border. At the top, there is a simple starburst design in black (under the blue). In the bottom left, there is a small line drawing, resembling a bird. At the top of the print, there seems to be a residual hand print of the artist in black.
Joan Miró (Spanish (culture or style))
Le Prophète
1958
Gift of Dr. Seymour and Barbara K. Adelson
2015/2.19

Hans (Jean) Arp (French (culture or style))
Placed According to the Laws of Chance
1952
Museum Purchase
1953/1.24.3
This etching with drypoint had a series of abstracted figures created with line. There is a large head at the center and around it there are at least five other heads/figures. Through the right-center of the page there is a strong black, winding line. In addition, there is a large starburst at the top right. The print is signed and dated (l.r.) "Miró / 1947" and numbered (l.l.) "57/70" in pencil.
Joan Miró (Spanish (culture or style))
Filletto, sautant à la corde, femmes, oiseaux
1947
Museum Purchase
1947/2.14
At the center of the print is a series of abstract bone-like shapes put together to resemble a creature or creatures. The background is colored, top to bottom, in blue, yellow, and green. The print is signed and dated (l.r.) "Yves Tanguy 1947" and numbered (l.l.) "57/70" in pencil.
Yves Tanguy (French (culture or style))
Rhabdomancie
1947
Museum Purchase
1947/2.16
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