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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Counter Offer by Carey Young, Image 5.

    Carey Young

    Counter Offer, 2008

    Archival inkjet print

    11.625 x 8.125 in (29.53 x 20.64 cm)

  2. Stellar by Starlight No. 3 by Anne Noggle, Image 1.

    Anne Noggle

    Stellar by Starlight No. 3, c. 1986

    Gelatin silver print

    19.75 x 16 in (50.17 x 40.64 cm)

  3. Shrimp Fleet IV by Carl Schwartz, Image 1.

    Carl Schwartz

    Shrimp Fleet IV, 1980

    Lithograph on paper

    15 x 22.25 in (38.1 x 56.52 cm)

  4. School Girls by Isabel Bishop, Image 1.

    Isabel Bishop

    School Girls, 1974

    Etching and aquatint on paper

    13.5 x 17.5 in (34.29 x 44.45 cm)

  5. Indian View B by Howard Hodgkin, Image 1.

    Howard Hodgkin

    Indian View B, 1971

    Screenprint on paper

    22.875 x 30.625 in (58.1 x 77.79 cm)

  6. Les deux mulets [The two mules], from Jean de la Fontaine, Fables, Paris, Tériade Editeur by Marc Chagall, Image 2.

    Marc Chagall

    Les deux mulets [The two mules], from Jean de la Fontaine, Fables, Paris, Tériade Editeur, 1952

    Etching on paper

    11.5 x 9.75 in (29.21 x 24.77 cm)

  7. Ah! Aye! le Cas Est Pressant by Jean Biraud, Image 1.

    Jean Biraud

    Ah! Aye! le Cas Est Pressant, 1824

    Hand-colored lithograph on paper

    14 x 11.5 in (35.56 x 29.21 cm)

  8. Foret de Fountainebleau by Narcisse Virgile Diaz de la Pena, Image 2.

    Narcisse Virgile Diaz de la Pena

    Foret de Fountainebleau, 1863-1864

    Oil on panel

    13.25 x 16.25 in (33.66 x 41.28 cm)

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About the artist

José Clemente Orozco

Mexican

1883-1949

Alongside Diego Rivera and David Alfaro Siqueiros, José Clemente Orozco was one of the major muralists of the Mexican Revolution. In spite of losing his left hand and sight in one eye, Orozco persisted in his artistic career, though not without a biting sense of humor and critical eye. Like Rivera and Siqueiros, Orozco studied at the San Carlos Academy for Fine Arts in Mexico City, and painted everyday subjects in a realist style. He studied with Gerardo Murillo, a radical who encouraged his students to reject European influences and embrace Mexican traditions. Bolstered by this, Orozco became increasingly involved with social and political activism through his art. He made easel paintings and caricatures for a radical paper, but his public works would become his greatest legacy—grand murals throughout North America, depicting allegorical scenes of history, uprising, industry, and suffering.