Exchange: Su17 Kligerman - SAC 441 - Cinema Fantastique: Magic, Fantasy, and Monstrosity in Postwar European Culture

Su17 Kligerman - SAC 441 - Cinema Fantastique: Magic, Fantasy, and Monstrosity in Postwar European Culture

André Masson
Bestiaire. II. Le Plus Cruel de Tous les Animaux
lithograph on paper
16 x 12 in. (40.64 x 30.48 cm);9 13/16 x 8 in. (24.92 x 20.32 cm)
Museum Purchase

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André Masson
The Industrial Beast (La Bête industrielle), Plate IX from "Bestiary (Bestiaire)"
lithograph on paper
16 in x 12 in (40.64 cm x 30.48 cm);16 in x 12 in (40.64 cm x 30.48 cm);22 1/8 in x 18 1/8 in (56.2 cm x 46.04 cm)
Museum Purchase

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This photograph depicts a view of a snowy street at night. Meandering in opposites directions, a man and woman are walking their dogs.

Alen MacWeeney
Nightwalkers, Dublin, Ireland
gelatin silver print on paper
19 13/16 in x 15 15/16 in (50.4 cm x 40.5 cm);22 1/8 in x 28 1/4 in (56.2 cm x 71.7 cm)
Gift of Carl W. Melcher

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Eugène Atget
Men's Fashions
gold-toned gelatin silver print on paper
10 in x 13 in (25.4 cm x 33.02 cm);19 3/10 in x 14 3/10 in (49.05 cm x 36.35 cm);13 in x 10 in (33.02 cm x 25.4 cm);9 in x 6 4/5 in (22.86 cm x 17.3 cm)
Museum Purchase

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Bruce Davidson
Untitled (Child in Graveyard), from "Welsh Miners"
gelatin silver print on paper
16 1/16 in x 19 15/16 in (40.8 cm x 50.64 cm)
Gift of Mr. and Mrs. Douglas M. Kenyon

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In the foreground, there is a man laying on a large human-sized book, one hand on his chin and the other holding a pencil to the page. In front of his pencil, the text "Mendez" and "1945" is printed. On the pages of the book are a skeleten-creature and on the opposite page an angel. Behind the man and the book is a large cactus, and then a large cross rises from its base. The cross is encircled by a large snake-like creature whose head is open, facing away, and an eagle is crucified with knives. Coming from the ends of the cross are what seems to be spears, pointing clockwise. Behind this foreground scene, there is an army marching under a flag with the skull and crossbones. A priest follows behind the army, seemingly coming from the open mouth of the large serpent whose tail holds the feet of the crucified eagle. To the left there are two more crucified figures, whose crosses are on fire. In the far background, there is a vista of a large city.

Leopoldo Méndez
Lo que puede venir
woodcut on paper
12 in x 6 15/16 in (30.48 cm x 17.62 cm);14 ¼ in x 10 ⅜ in (36.2 cm x 26.35 cm);22 ⅛ in x 18 ⅛ in (56.2 cm x 46.04 cm)
Museum Purchase

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Francisco José de Goya y Lucientes
There is plenty to suck (Mucho hay que chupar)
etching and burnished aquatint on paper
12 in x 8 in (30.48 cm x 20.32 cm);7 3/4 in x 4 7/8 in (19.68 cm x 12.38 cm);8 in x 5 15/16 in (20.32 cm x 15.08 cm)
Gift of Kurt Delbanco in honor of Nicholas Delbanco, and partial purchase with the funds from the W. Hawkins Ferry Fund

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Francisco José de Goya y Lucientes
Who would have thought it! (Quien lo creyera!)
etching, burnished aquatint and burin on paper
12 in x 8 in (30.48 cm x 20.32 cm);8 1/16 in x 5 7/8 in (20.48 cm x 14.92 cm);8 in x 5 1/8 in (20.32 cm x 13.02 cm)
Gift of Kurt Delbanco in honor of Nicholas Delbanco, and partial purchase with the funds from the W. Hawkins Ferry Fund

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Christian Rohlfs
Juggler
color woodcut on paper
14 5/8 in. x 17 7/16 in. ( 37.1 cm x 44.3 cm )
Museum Purchase

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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
Temptation of Saint Anthony
gelatin silver print from cliché-verre plate on paper
15 in x 11 1/4 in (38.1 cm x 28.58 cm);11 5/16 in x 15 in (28.73 cm x 38.1 cm);22 1/8 in x 28 1/8 in (56.2 cm x 71.44 cm);11 5/16 in x 22 5/8 in (28.73 cm x 57.47 cm);9 3/8 in x 7 in (23.81 cm x 17.78 cm)
Museum Purchase

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This screenprint is in grey and black on white background. There are a variety of images and text collaged together, in three main sections. At the top, in grey, there is one large image of a group of naked toy dolls with a Volkswagen Beatle collaged over top and to the right, three smaller identical images of a man stretching against a palm tree at the beach. Below this is another section with text printed in grey and photographs of white men, including Albert Einstein on the far left, printed in black. The bottom register has two images printed in grey. On the left, there is an image of a man helping another man into a space suit with computers in the background; on the right, there is a detail of on of Michelangelo's<em> Dying Slave </em>(ca. 1513).

Sir Eduardo Paolozzi
Smash hit, Good Lovin, plus Like a Rolling Stone, Slow Down, etc.
screenprint on paper
14 15/16 in x 10 in (37.94 cm x 25.4 cm)
Gift of Professor Diane M. Kirkpatrick

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A heavily inked, multi-layered multi-media image with tinges of color. On the left hand side of image, an older gentleman in turban and beard can be made out. The background is dark inks and washes, bleeding into man's figure. Bottom edge of paper carries inscriptions from Kubin (handwriting matches other samples).

Alfred Kubin
Black Magic / Continuation of Mynona's Gray Magic (Schwarze Magie / Fortsetzung von Mynonas grauer Magie)
pen + ink and watercolor and gouache on wove paper
12 in. x 7 1/2 in. ( 30.48 cm x 19.05 cm )
Gift of the Ernst Pulgram and Frances McSparran Collection

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