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aicmodernart.bsky.social
AIC: Modern Art (Bot)
@aicmodernart.bsky.social
300 followers 3 following 2.2K posts
Sharing artworks from the Art Institute of Chicago's Modern Art department.
Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social
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Dahlia and Daisies in a Vase https://www.artic.edu/artworks/79021/
Gift of Emily Crane Chadbourne
November 25, 2025 at 9:21 AM
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Nude with a Pitcher https://www.artic.edu/artworks/61612/
Gift of Mary and Leigh Block
November 24, 2025 at 6:01 PM
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A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano https://www.artic.edu/artworks/145241/
Gift of Mr. and Mrs. Joseph R. Shapiro
November 24, 2025 at 3:47 PM
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Landscape at Cagnes https://www.artic.edu/artworks/59967/
Charles H. and Mary F. S. Worcester Collection
November 24, 2025 at 1:03 PM
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Untitled (Sun Box) https://www.artic.edu/artworks/99785/
Lindy and Edwin Bergman Joseph Cornell Collection
November 24, 2025 at 11:30 AM
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Ann-In Memory https://www.artic.edu/artworks/99790/
Lindy and Edwin Bergman Joseph Cornell Collection
November 24, 2025 at 9:08 AM
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The Red House https://www.artic.edu/artworks/205573/
The artists of Brücke (Bridge) regularly worked together, both in their studios as well as out of doors; this communal approach contributed to the early consistency of their style and reflected an important aspect of their utopian program. Echoing larger social concerns about health at the time, Max Pechstein and his colleagues often escaped the constraints of city life to find a more authentic existence in nature, documenting their experiences in their work. Later, after his relocation to Berlin in 1908, he also made solitary trips to Nidden, a remote fishing village on the Baltic Sea. Pechstein painted The Red House during the second of these trips, attracted to the expansive dunes and forests of the region as well as the local people and architecture. Bequest of Kenneth and Bernice Newberger
November 23, 2025 at 6:42 PM
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White Crucifixion https://www.artic.edu/artworks/59426/
The 1938 painting White Crucifixion represents a critical turning point for the artist Marc Chagall: it was the first of an important series of compositions that feature the image of Christ as a Jewish martyr and dramatically call attention to the persecution and suffering of European Jews in the 1930s. In White Crucifixion, his first and largest work on the subject, Chagall stressed the Jewish identity of Jesus in several ways: he replaced the loincloth with a prayer shawl, his crown of thorns with a headcloth, and the mourning angels that customarily surround him with three biblical patriarchs and a matriarch, clad in traditional Jewish garb. At either side of the cross, Chagall illustrated the devastation of pogroms. On the left, a village is pillaged and burned, forcing refugees to flee by boat and the three bearded figures at bottom left—one of whom clutches a Torah—to escape on foot. On the right, a synagogue and its Torah ark go up in flames, while below a mother comforts her child. By linking the martyred Jesus with the persecuted Jews and the Crucifixion with contemporary events, Chagall’s painting passionately identifies the Nazis with Christ’s tormentors and warns of the moral implications of their actions. Gift of Alfred S. Alschuler
November 23, 2025 at 5:17 PM
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Still Life with Flowers https://www.artic.edu/artworks/80574/
Bequest of Joseph Winterbotham
November 23, 2025 at 1:30 PM
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Suffering https://www.artic.edu/artworks/106540/
Through prior restricted gifts of a Friend of the Art Institute of Chicago, Kate L. Brewster, Mr. and Mrs. Carter H. Harrison, Mr. and Mrs. Seymour Oppenheimer, and Joseph Winterbotham; Major Acquisitions Centennial Fund
November 23, 2025 at 11:42 AM
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Still Life https://www.artic.edu/artworks/27936/
Helen Birch Bartlett Memorial Collection
November 23, 2025 at 10:16 AM
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Rainbow (prismatic) [Regenbogen (prismatisch)] https://www.artic.edu/artworks/229824/
Gift of Richard Roth
November 22, 2025 at 6:27 PM
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Port of Bordeaux https://www.artic.edu/artworks/53045/
Gift of Sheila and Alvin Ukman
November 22, 2025 at 3:20 PM
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The Stone Eye: I Saw (Watashi Ha Mita) https://www.artic.edu/artworks/245534/
Mary and Leigh Block Fund
November 22, 2025 at 1:57 PM
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Still Life with Queen https://www.artic.edu/artworks/9018/
Arthur Jerome Eddy Memorial Collection
November 22, 2025 at 10:40 AM
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Horse https://www.artic.edu/artworks/5580/
Writing in 1913 to his friend the American art historian Walter Pach, Raymond Duchamp-Villon declared, "The power of the machine imposes itself upon us and we can scarcely conceive living bodies without it." That year the French sculptor began his preliminary sketches and clay studies for Horse, progressively abstracting these initial naturalistic renderings of the animal’s anatomy into a coiled configuration of geometric forms suggestive of pistons, gears, and shafts. Optimistically embracing the clean aesthetic and dynamic potential of the machine, Duchamp-Villon reinterpreted the traditional subject of equestrian sculpture for the modern era. The artist completed only a small plaster of the final version of Horse; he died before he could realize his plans to enlarge and cast it in bronze. This was done by his brothers, Jacques Villon and Marcel Duchamp, in 1930–31. Gift of Margaret Fisher in memory of her parents, Mr. and Mrs. Walter L. Fisher
November 22, 2025 at 10:02 AM
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Pavilion https://www.artic.edu/artworks/99779/
Lindy and Edwin Bergman Joseph Cornell Collection
November 21, 2025 at 1:11 PM
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The Eventuality of Destiny https://www.artic.edu/artworks/20554/
In the years following World War I, artists across Europe sought to put the disruptions of war behind them. Searching for a new artistic vocabulary, they moved away from the fragmented forms of prewar Cubism and looked to the classical tradition, forging what was known as the “return to order.” This new style had many sources of inspiration, including the art of ancient Greece and Rome, the Renaissance, and even later Neoclassical revivals. Giorgio de Chirico was likewise attracted to the idea of classicism; his The Eventuality of Destiny is in part the result of his study of the works and techniques of the Old Masters. Gift of Mrs. Frederic C. Bartlett
November 21, 2025 at 11:11 AM
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Untitled https://www.artic.edu/artworks/134056/
Bequest of Mrs. Walter Paepcke
November 21, 2025 at 8:22 AM
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Torso of a Young Man https://www.artic.edu/artworks/122700/
Bequest of Clara G. Binswanger
November 20, 2025 at 6:40 PM
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The Awakening of the Forest https://www.artic.edu/artworks/111642/
Paul Delvaux painted The Awakening of the Forest in the late 1930s, after having adopted Surrealism as a visual language to give form to his inner world—one populated with childhood memories and fantasy. For this monumental painting, the artist transformed an episode from Jules Verne’s Journey to the Center of the Earth (1864), in which Professor Otto Lidenbrock and his nephew Axel discover a prehistoric forest deep inside the earth. Delvaux showed the professor at left, examining a rock or fossil; behind him stands Axel, who bears a striking resemblance to the artist himself. Under a full moon, a group of women in the background appear like automatons. In the foreground, several figures combine human and vegetal elements; these ambiguous figures seem to embody a primordial, as yet undifferentiated, state. A woman in the right foreground and another in the left middle ground, both in Victorian dress, hold lamps and try in a vain to shed light on the unyielding mystery of the scene. Despite the multitude of naked figures and their detailed description, The Awakening of the Forest retains a detachment that adds to its strange and mysterious effect. Joseph Winterbotham Collection
November 20, 2025 at 3:39 PM
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Twin Figures https://www.artic.edu/artworks/5173/
Jean Hélion was a leading member of the abstract art movement in 1920s and 1930s Paris, producing rigorous geometric paintings that followed the general tenets of Piet Mondrian and other artists associated with De Stijl. Along with Theo van Doesburg, Hélion founded Art Concret (later known as Abstract-Création), the first French avant-garde group devoted to radical abstraction. In 1936 Hélion moved to the United States and, at the invitation of László Moholy-Nagy, took a teaching position at Chicago’s New Bauhaus (later renamed the Illinois Institute of Technology). This painting, produced during Hélion’s time in the United States, exemplifies his continuing exploration of abstraction, injecting rhythmic color and organic form into his compositions. In 1939 Hélion returned to France to fight in World War II. Gift of Peggy Guggenheim
November 20, 2025 at 2:29 PM
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Rhythm of Bird Flight https://www.artic.edu/artworks/47637/
Gift of Dr. Berthe Klien
November 20, 2025 at 12:32 PM
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Divers on a Yellow Background https://www.artic.edu/artworks/111082/
Long committed to ideals of social equality, Fernand Léger sought, especially during the latter part of his career, to reconcile modern art with the demands of a mass audience. Beginning in the mid-1930s, the artist executed many monumental works and turned with increasing frequency to the motif of the human figure, using organic forms inspired by the natural world rather than the geometric shapes of the man-made, machine-oriented one. Inspired by his memory of swimmers diving off the docks in Marseilles, Divers on a Yellow Background is one of numerous drawings and paintings on this theme that the artist realized while residing in the United States during World War II. Gift of Mr. and Mrs. Maurice E. Culberg
November 20, 2025 at 10:03 AM
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Bonimenteur https://www.artic.edu/artworks/7694/
Gift of Mrs. Leigh B. Block in memory of Albert D. Lasker
November 19, 2025 at 6:05 PM