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  • In_the_Car.jpg
    In the Car, Roy Lichtenstein, 1963, oil and magna on canvas, Scottish National Gallery of Modern Art (larger of two copies).
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    Atlantic Civilisation.
    André Fougeron.
    Oil paint on canvas.
  • T07705_10.jpg
    Return from Market, André Fougeron, 1953, oil on canvas, Tate.
  • N04958_10.jpg
    Cattle Market.
    James Bateman.
    Oil paint on canvas.
  • KrustyBrand
    15340 posts Member
    edited September 2018
    President Taft’s Cow, Pauline Wayne, Claire McLean, c. 2001, watercolor, Presidential Pet Museum, Williamsburg, VA.
  • P11483_10.jpg

    Bull II.
    Roy Lichtenstein.
    Lithograph and line-cut on paper.
  • MNBPRickettsBatteryPainting.jpg
    Capture of Ricketts' Battery, Sidney E. King, 1964, oil on plywood, Henry Hill Visitor Center at Manassas National Battlefield Park.

    The painting depicting action during the First Battle of Bull Run, one of the early battles in the American Civil War.
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    Fat Battery.
    Joseph Beuys.
    Felt, fat, tin, metal and cardboard.
  • SAAM-1969.21.72_1.jpg?itok=WAUeKCBZ
    View of the Battery, Werner Drewes, 1931, drypoint, Smithsonian American Art Museum.
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    View in the Avon Gorge.
    Joseph Mallord William Turner.
    Pen and ink and watercolour on paper.
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    A View along a River near a Village at Evening, Aert van der Neer, c. 1660s, oil on canvas, National Gallery, London.
  • TATE_TATE_T01252_10.jpg

    A View Of The Thames.
    Oskar Kokoschka.
    Oil on canvas.
    This view looks down river toward St Paul's Cathedral. Painted during a hot October, the artist's vantage point was the roof of the Shell-Mex building on the Strand. The picture was painted entirely on the spot without preliminary studies of any kind.
  • KrustyBrand
    15340 posts Member
    edited September 2018
    Anscluß — Alice in Wonderland, Oskar Kokoschka, 1942, oil on canvas, private collection.

    From Arts in Exile web site:
    At first Kokoschka gave the work the ironic title Alice in Wonderland, and only later added the word Anschluß, a clear reference to the annexation of Austria by the Naz1s.

    The burning city portrayed in the background is Kokoschka’s native Vienna. Alice, symbolising truth, stands nude at the bottom-right of the foreground, fenced in by barbed wire. Directly beside her at the centre of the canvas are three male figures gesturing like the three wise monkeys of Buddhist lore: hear no evil, see no evil, speak no evil. The figures are wearing English, German and French steel helmets, respectively. This is a reference by Kokoschka to the role played by all three nations in deciding the fate of Vienna. They would rather not know the truth of the disaster they have failed to prevent in Kokoschka’s native city. On the left foreground, a woman is holding a baby wearing a gas mask. She looks over at the naked Alice in dismay.

    Anschluß – Alice in Wonderland can be read as stark criticism by the painter of the Allies’ reticent reaction to H1tler’s aggressive military programme.
  • T12024_10.jpg
    Paula Rego.
    Pastel on paper on aluminium.
    War was completed in London, where Rego moved permanently in 1976. The artist has claimed that the work was a response to a photograph published in the Guardian newspaper in the early stages of the Iraq War, which began in March 2003. The photograph featured a screaming girl in a white dress running from an explosion, while a woman and a baby remain stationary behind her. Rego explained, ‘I thought I would do a picture about these children getting hurt, but I turned them into rabbits’ heads, like masks. It’s very difficult to do it with humans, it doesn’t get the same kind of feel at all. It seemed more real to transform them into creatures'.
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    Shell, Frank William Brangwyn, c. 1919, lithograph, Metropolitan Museum of Art, New York City.
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    Forms Without Life.
    Damien Hirst.
    Fibreboard cabinet, melamine, wood, steel, glass and sea shells.
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    Colorful Life, Wassily Kandinsky, 1907, tempera on canvas, Städtische Galerie im Lenbachhaus, Munich.
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    Colorful Life (Dope)
    Arturas Jonikas.
    Acrylic on Canvas.
  • W1siZiIsIjIzOTYyOSJdLFsicCIsImNvbnZlcnQiLCItcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg?sha=a04575afd769696f
    Bread of Life, William Christenberry, 1989, Chromogenic color print (near Tuscaloosa, Alabama), Museum of Modern Art, New York City.
  • T07955_10.jpg
    1922 (bread)
    Ben Nicholson OM.
    Oil paint on canvas.
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