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From a high vantage point, we look down ontp a group of dozens of boys who stand, sit, stretch, sprawl, or dangle their legs off a rough wooden pier that juts out from the lower left corner into a dark river in this horizonal painting. Their gangly bodies are loosely painted and brightly lit from the upper left. Most are nude, their skin tones ranging from cream white to medium brown. There are gaps between some of the planks of pier, and some of the boards hang off the sides, as if laid loosely across the supports beneath. One boy dives into the river near the center of the painting while another bends over to pull a boy back onto the pier. Several splash in the water near the right side of the painting. The river is emerald green near the brightly lit pier and becomes almost black across the upper half of the painting. An empty, small rowboat painted in stripes of white, white, and blue floats in the shadows along the top center edge of the canvas.
George Bellows, Forty-two Kids, 1907, oil on canvas, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2014.79.2
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Louis Draper, Summer, New York City, 1961, printed c. 1970s, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund, 2020.70.2
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Pat Steir, Crown Point Press, Sunflower, 1986, color woodcut on Echizen-Mashi paper, Gift of Kathan Brown, 1998.40.471
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A small child stands facing us on a sun-dappled path that runs up the center of a garden dominated by towering yellow and burnt-orange sunflowers in this loosely painted, vertical scene. The light comes from our right so long, sea-green and plum-purple shadows cross the peach-colored path. The path is wide at the bottom center of the canvas and narrows as it reaches the steps of a house, beyond the garden. Close to us, four blue and white porcelain urns line the path, separating it from the grassy banks to either side. The urns are filled with tall stems with coral-pink and cardinal-red flowers. The child stands about halfway back along the path, where the garden transitions from grass to the banks of tall sunflowers. A few strokes in front of the child could be a small dog. Behind the child, a woman and another child stand on the steps. The woman wears a cornflower-blue and white dress, while both children have bare legs and wear white clothes and yellow hats. All three have indistinct facial features and peach-colored skin. The house spans with width of the composition. It has an amethyst-purple roofline with two chimneys, and the petal-pink walls have mango-yellow highlights. Windows are covered with blue latticework. Above the house, fluffy white clouds float against a vibrant blue sky. The artist signed and dated the painting at the lower right in dark blue, “Claude Monet 80.”
Claude Monet, The Artist's Garden at Vétheuil, 1881, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.45
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Angela Strassheim, Untitled (Alicia in the Pool), 2006, chromogenic print, Gift of The Heather and Tony Podesta Collection, 2014.150.12
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Emma Amos, Pool Lady, 1980, etching, aquatint and stencil, Gift of the Collectors Committee, 2019.164.3
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