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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Sun Dahlia by Joyce Tenneson, Image 1.

    Joyce Tenneson

    Sun Dahlia, 2020

    Archival pigment print

    22 x 17 in (55.88 x 43.18 cm)

  2. Roots of War in Popular Song (forest of no return) by David Byrne, Image 1.

    David Byrne

    Roots of War in Popular Song (forest of no return), 2010

    Archival pigment print

    11 x 13.75 in (27.94 x 34.93 cm)

  3. Mary Uhlir, Montgomery, Minnesota by Sue Kyllonen, Image 1.

    Sue Kyllonen

    Mary Uhlir, Montgomery, Minnesota, 1987

    Gelatin silver print

    6 x 9 in (15.24 x 22.86 cm)

  4. Lakeside Mountain Suite: Springreen by David Shapiro, Image 1.

    David Shapiro

    Lakeside Mountain Suite: Springreen, 1977

    Lithograph on paper

    14.875 x 22.375 in (37.78 x 56.83 cm)

  5. Breaking Up by John Grazier, Image 1.

    John Grazier

    Breaking Up, 1976

    Lithograph on paper

    21.75 x 29.75 in (55.25 x 75.57 cm)

  6. Sunshine Face by Karel Appel, Image 1.

    Karel Appel

    Sunshine Face, 1974

    Lithograph on paper

  7. Ben-Day Glo II, Cerise by Anne Kesler Shields, Image 1.

    Anne Kesler Shields

    Ben-Day Glo II, Cerise, 1968

    Screenprint on paper

    36.125 x 26.0625 in (91.76 x 66.2 cm)

  8. Rubbing #3 by Bernard Pfriem, Image 1.

    Bernard Pfriem

    Rubbing #3, 1961

    Lithograph on paper

    10 x 14 in (25.4 x 35.56 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.