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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Global Man by Keith Haring, Image 1.

    Keith Haring

    Global Man, 1990

    Screenprint on paper

    24.5 x 24.5 in (62.23 x 62.23 cm)

  2. Card House by Peter Winslow Milton, Image 1.

    Peter Winslow Milton

    Card House, 1975

    Etching on paper

  3. Sculptures II by Joan Miró, Image 2.

    Joan Miró

    Sculptures II, 1974

    Color lithograph on paper

    11 x 22 in (27.94 x 55.88 cm)

  4. Corrida III by Dame Elisabeth Frink, Image 1.

    Dame Elisabeth Frink

    Corrida III, 1973

    Lithograph on paper

    21.375 x 30.4375 in (54.29 x 77.31 cm)

  5. Figs by Mary Fedden, Image 1.

    Mary Fedden

    Figs, 1972

    Lithograph on paper

    30.5 x 22.625 in (77.47 x 57.47 cm)

  6. SULGLOS II by Juergen Strunck, Image 1.

    Juergen Strunck

    SULGLOS II, 1970

    Relief print

    35 x 27.5 x 1.25 in (88.9 x 69.85 x 3.18 cm)

  7. Bird Lives by Carmen Louis Cicero, Image 1.

    Carmen Louis Cicero

    Bird Lives, 1960

    Lithograph on paper

    16 x 20 in (40.64 x 50.8 cm)

  8. School for Spooks (Bakebake gakko) No. 3 from the series "Drawings for Pleasure" by Kyosai Rakuga (Kyōsai rakuga, dai san gō) by Kawanabe Kyosai, Image 1.

    Kawanabe Kyosai

    School for Spooks (Bakebake gakko) No. 3 from the series "Drawings for Pleasure" by Kyosai Rakuga (Kyōsai rakuga, dai san gō), 1874

    Woodblock print on paper

    14.75 x 10 in (37.47 x 25.4 cm)

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About the artist

Kenneth Noland

American

1924–2010

American painter. Kenneth Noland (1924-2010) was an American painter who was centrally involved in many art movements throughout the 20th century including Abstract Expressionism, Minimalism, and Color Field painting. Being a North Carolina native and WWII veteran, Noland attended the experimental Black Mountain College on the G.I. Bill where he was taught by influential artists Ilya Botolosky and Josef Albers, exposing Noland to Neoplasticism and Bauhaus color theory. Noland was later introduced to Helen Frankethaler by critic Clement Greenberg and adopted her “soak-stain” technique of letting thinned paint soak through unprimed canvases to create an effect that resembles watercolor. Combined with Noland’s stripe motif that can be seen in many of his paintings, the soak-stain technique can also be seen here in Untitled. To inaugurate the opening of the new Katherine and Tom Belk Visual Art Center in 1993, Herb Jackson and Davidson College held a retrospective of Noland’s work and awarded him an honorary degree, and Noland gifted this large work after the retrospective.