Art Date, Cont’d

More from the LACMA—this time spotlighting modern art. 

“Harlequin” by Pablo Picasso (1923)

Took this primarily for the color palette (inspiration for a future bathroom) but I’d be remiss not to mention how Picasso’s portrayal of women is a direct representation of how he values them. Those he loves, he paints with a tenderness manifested in realism; those he finds grating (or no longer desirable) are turned into twisted portraits under the guise of cubism.

“Tea” by Henri Matisse (1919)

Snapped this because of the woman’s mask-like face, which critics interpret as a reflection of the artist’s interest in African art. And because this piece seemed like a departure from what we’ve come to expect of Matisse (no doubt because of the select styles that permeated our Tumblr and Pinterest feeds).

“PH-143 (1955-H)” by Clyfford Still (1955)

Seemingly chaotic strokes (what Still called “lifelines”) were actually calming when taken in as a whole in person, but this was the section I wanted to remember. Layers of inky black—what a beautiful mess.

“Dialogue” by Lee Ufan (2018)

I’m fond of a gradient. (Predictable, I know.) But admittedly, I took this because these gestures reminded me of how I styled a blush product shot when I used to work on social back in the day, but never left the cutting room floor…

“White Center” by Mark Rothko (1957)

Say what you will about Rothko but if you allow yourself to become fully immersed in the presence of one of his paintings, there’s no doubting its power. This one took my breath away: the sheer size and deliberate use of color and placement were gripping.

“Coravilas” by Peter Bradley (2021)

Bradley achieved this type of organic fluidity by fully saturating the canvas with water before going in with paint. It’s beautiful, isn’t it? I’m convinced that even if the accompanying description didn’t ID his inspiration (this was a visual interpretation of a jazz track by saxophonist Bill Evans), anyone would’ve guessed that music was the muse…

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xx