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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Washcloth, from the portfolio "Utopia" by Linda Headlee, Image 1.

    Linda Headlee

    Washcloth, from the portfolio "Utopia", 1989

    Xerox transfer and screenprint on paper

    22.5 x 14.875 in (57.15 x 37.78 cm)

  2. Pyramid V by Doug Warner, Image 1.

    Doug Warner

    Pyramid V, 1976

    Lithograph on paper

    15.625 x 8.375 in (39.69 x 21.27 cm)

  3. Icarian Image II by S. Tucker Cooke, Image 1.

    S. Tucker Cooke

    Icarian Image II, 1974

    Lithograph on paper

    34.5 x 24.5 in (87.63 x 62.23 cm)

  4. Eyes by Jose Ortega, Image 1.

    Jose Ortega

    Eyes, 1973

    Etching and lithograph on paper

    24.75 x 21.75 in (62.87 x 55.25 cm)

  5. Victorian Vision by Frank Eckmair, Image 1.

    Frank Eckmair

    Victorian Vision, 1973

    Lithograph on paper

    22.875 x 24.75 in (58.1 x 62.87 cm)

  6. A. Black by Justin Knowles, Image 1.

    Justin Knowles

    A. Black, 1971

    Screenprint on paper

    27 x 40 in (68.58 x 101.6 cm)

  7. Untitled No. 8, from "The Basque Suite" by Robert Motherwell, Image 1.

    Robert Motherwell

    Untitled No. 8, from "The Basque Suite", 1970

    Silkscreen on paper

    22.5 x 17 in (57.15 x 43.18 cm)

  8. Operating Theatre by Nicholas Monro, Image 1.

    Nicholas Monro

    Operating Theatre, 1970

    Screenprint on paper

    24.5 x 25.625 in (62.23 x 65.09 cm)

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About the artist

Richard Lindner

German

1901-1978

German-American painter and illustrator. Started his career as a concert pianist before becoming the art director of Knorr & Hirth, a Nazi publisher. Escaped Germany a day after the Nazis came into power in Paris and had to prove his loyalty to the Allied powers by serving in the British and French armies. Left for New York in 1941, restarting his career as an illustrator for Vogue, Fortune and Harper’s Bazaar. Paintings demonstrate a blend of expressionistic exaggeration, Surrealist fantasy, Cubist manipulations of form and perspective, and incorporates elements of his personal history, literary associations, and introspection that separates his works from pop-art. Known for his erotic renderings of human form, inspired in part by Berlin’s cabaret scene and in part by New York’s underground. Favorite subjects were bizarre women as sexual object, precocious children and men as strangers or voyeurs, and policemen as symbols of authority. Taught at the Pratt Institute from 1952 to 1965.