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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Six Holy Days by Fritz Eichenberg, Image 1.

    Fritz Eichenberg

    Six Holy Days, 1976

    Wood engraving on paper

    9.4375 x 8 in (23.97 x 20.32 cm)

  2. Flexible and Stainless by Sylvia Plimack Mangold, Image 1.

    Sylvia Plimack Mangold

    Flexible and Stainless, 1975

    Lithograph in four colors on white Arches cover

    28.25 x 29.3125 in (71.76 x 74.45 cm)

  3. Artichokes in a Basket by Laura Grosch, Image 1.

    Laura Grosch

    Artichokes in a Basket, 1974

    Lithograph on paper

    37 x 29 in (93.98 x 73.66 cm)

  4. To Market, To Market by Paul Szep, Image 1.

    Paul Szep

    To Market, To Market, 1974

    Lithograph on paper

    19.625 x 19.25 in (49.85 x 48.9 cm)

  5. Canterbury Tales by Dame Elisabeth Frink, Image 1.

    Dame Elisabeth Frink

    Canterbury Tales, 1972

    Etching on paper

    31.375 x 22.75 in (79.69 x 57.79 cm)

  6. Areas Contrasted by William Scott, Image 1.

    William Scott

    Areas Contrasted, 1972

    Screenprint on paper

    22.75 x 30.5 in (57.79 x 77.47 cm)

  7. Sheep Shearing by Stanley Anderson, Image 1.

    Stanley Anderson

    Sheep Shearing, 1942

    Engraving on paper

  8. 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)

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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.