Polonaise, 1962

This work, from Nejad’s series Les Polonaises, combines two threads in his artistic development: Chinese ink painting and the symmetrical, floral paper cutouts of Polish folk tradition. He took a greater interest in working on paper after a 1962 visit to China, where his brushwork became looser; in turn, he lightened his palette after a […]

Exile, c. 1962

In Exile, the lyrics of a folk song intercede between a father and his nursing wife and his small children, who are seated under a glowering, upside-down visage. Evoking the homesickness and alienation that often accompany migration from the country to the city, Aslier leaves the figures indistinct, with little hint of traditional dress, and […]

Seascape with Dunes, 1962

Visiting Jackson Pollock in 1951, Helen Frankenthaler observed how he poured lines and pools of black paint onto raw canvas, creating an image that appeared to be stained into the weave instead of resting on top of it. Back in her studio, she experimented with thinning and pouring different hues, using oil paint to create […]

Gay Scorpions, 1962

This etching demonstrates Krishna’s keen observational skills and his ability to evoke nature’s vibrancy through dynamic lines and contrasting colors.

Last Poet of Iran, 1962

Tanavoli’s interests in Iranian folklore, myths, and Sufi mystical poetry are reflected in a number of his works, which often focus on the figure of the poet, the prophet, or the lover—sometimes in anamorphic forms, as in paintings from his Last Poet of Iran series, seen here and in G1983.32 and G1975.74.