George MellyJR GlavesSmith 1973 The New Yorker Collection

George Melly/JR Glaves-Smith. 1973 The New Yorker Collection.

Two dimensional design (composition) is basically the arrangement of shapes. The color, texture and value of these shapes plays a key role. Sydney Licht. Still Life with Two Bunches. Oil on linen, 12” x 12”

Sydney Licht

Sydney Licht Still Life with Dessert

Claude Monet. Rouen Cathedral: Portal, grey weather. 1892. Oil on canvas Roy Lichtenstein. Cathedral #2 from the cathedral series. 1969. Colour lithograph.

Claude Monet. Rouen Cathedral, morning affect

Roy Lichtenstein Cathedral #2 from the Cathedral series, 1969 Color lithograph and screen print.

Roy Lichtenstein. Cathedral #5 from the cathedral series. 1969. Colour lithograph.

Angle of perception David Smith. Blackburn: Song of an Irish Blacksmith, front and side views. 1949 -50. Steel and bronze 46 ½” x 41” x 24”

Jennifer Bartlett. Boats 1987. Sculpture: painted wood, steel support, pine mast, 66 ½” x 47 ½” x 46” each; Painting: oil on canvas, 9’ 10” x 14’.

Jennifer Bartlett. Boats 1987. Sculpture: painted wood, steel support, pine mast, 66 ½” x 47 ½” x 46” each; Painting: oil on canvas, 9’ 10” x 14’.

Jennifer Bartlett

Mark Rothko Orange and yellow, 1956 Oil on canvas. 91 x 71 inches

Giorgio Morandi. Natura Morta. 1956 Oil on canvas

Russell Connor. The New Yorker cover drawing November 1992

Russell Connor. Beyond the Brillo Box 1992

Rembrandt c. 1632 The Anatomy Lesson, oil on canvas.

Rottgen Pieta. c. 1370 Wood 10 1/2”

Ad for Nike Sportswear 1995 NYC

Catherine Murphy, Self-Portrait. 1970. Oil on canvas, 49 ½” x 37 ¼”

Catherine Murphy, Self-Portrait at easel 1973.

Paul Resika. July 2001. Oil on canvas 52” x 60”

Rebecca Harvey. Systema Naturae. Ceramic 1998

Arshile Gorky. Garden in Sochi. c. 1943. Oil on canvas, 31” x 29”

Whiting Tennis, Little Agricultural, Cardboard collage

Helen Frankenthaler Over the Circle 1961. Oil on canvas 84 ½” x 87 ½”

Daniel Wiener. Chorus, 1993. Hydrocal, acrylic, wire dyed muslin, 15’ 5 ½” x 13’ x 7’ 7”

Armchair in a continual curved form.

Rocio Romero. Prefabricated Home, 2003

Yeardley Leonard. Sita. 2001. Acrylic on linen on panel, 16 ½” x 33”

Will H. Bradley. Poster for Thanksgiving Number of The Chap-Book. 1895

Nationale-Nederlanden Building, Prague 1996. Architects: Vladimir Milunic/Frank Gehry

The location of shapes in space organizes the space into positive and negative areas.

Utamaro. Ten looks of women’s physiognomy/enjoyable looks.

Aaron Siskind. Chicago 30. 1949 Gelatin silver, 14” x 18”

Michael Graves. Addition to the Benacerraf House. Princeton, NJ 1969

Michael Graves. Addition to the Benacerraf House, side view. Princeton, NJ 1969

left: Georges Seurat. The Black Bow. c. 1882 Conté crayon, 12” x 9” above: Georges Seurat. Silhouette of a Woman. 1882 -84 Conté crayon, 12” x 8 7/8”

Georges Seurat. The Artist’s Mother (Woman Sewing). 1882 -83 Conté crayon

Georges Seurat. Seated Nude: Study for 'Une Baignade' c. 1883 Conté crayon

Franz Kline. White Forms. 1955. Oil on canvas, 6’ 2 3/8” x 4’ 2 ¼”

Franz Kline was influenced by his upbringing in a coal mining community where black locomotives were a major part of the landscape.

Kline's brushstrokes became completely non-representative, fluid, and dynamic as he began only painting in black and white. He explains how his monochrome palette is meant to depict negative and positive space by saying, “I paint the white as well as the black, and the white is just as important. ”

Hans Hillmann. Poster for the film, The Bartered Bride, 1972

Multicanal (logo design for cable television company, Buenos Aires, Argentina. ) Chermayeff & Geismar, Inc. New York.