Contact us

Contact the Curator

Home

Return to Homepage

Sorry, there was an issue sending the request.

The page you’re trying to access doesn’t appear to exist. 

Back to the Homepage

Page not Found

Oops!

Hang on till we get the error fixed. You may also reload the page or try again later.

Server is Unavailable

Contact Us

Application Portal

Check out new groupings available to borrow from our Partner Loan Network lenders.

Partner Loan Network Groupings

View the Groupings

New Available Groupings

This Website uses cookies to enhance the user experience

If you have additional questions, please contact us at 

Thank you for contacting Art Bridges!

About

Availability

 incorporates natural materials and motifs in all functional and decorative aspects of the building. Reflecting the midwestern landscape, the house blurs the line between the interior of a home and the exterior of the outdoors. This is especially seen through the panoramic windows and stained-glass panels. Wright described his windows as “light screens,” highlighting the significant role of windows over walls in opening the interior space.

This laylight comes from a grouping of six horizontal stained-glass panels originally placed flat on the ceiling above the dining room table. Each is identical, made of yellow, green, and red rectangular pieces arranged in an intricate geometric design. Despite its location within the house, the vibrant colors of the laylight would have created the illusion of a lit outdoor space, allowing viewers to consider and immerse themselves fully in the surrounding environment.

A box of 10 photographs

Engaging Community and Bridging Cultures

Perro aullando a la luna (Dog Howling at the Moon)

Creating meaning through technology

Untitled

Keith Haring

Self Portrait

An innovative new exhibition at Missoula Art Museum

Cigar

15 Canvas Study of the Grand Canyon

Activating an existing collection in new ways at the Memphis Brooks Museum of Art

Native Son (Circus)

Peoria Riverfront Museum  -  Peoria, IL

Installation

George Henry Durrie

To Hartford—IX Miles

A.C.Q. - Cross Eyed; A.C.Q. - Cross Ban; A.C.Q. - Cross Waves

Thinking Outside the Box at the Museum of Fine Arts St. Petersburg

The Walls

After Russell Lee: 1-60

Kenyon College  -  Gambier, OH

Senga Nengudi

A.C.Q. - Fandango

Frank Lloyd Wright  Laylight from the B. Harley Bradley House, Kankakee, Illinois

Frank Lloyd Wright

Laylight from the B. Harley Bradley House, Kankakee, Illinois

Diebenkorn’s innovative, semi-abstract landscapes of sharply inclining roadways were inspired by the rising hills of his native San Francisco. 

 presents a partially imagined scene, with the row of buildings at left, typical of San Francisco, casting their shadow across a street and onto an invented tract of fields. Although the canvas depicts recognizable elements, the artist maintains the compositional sensibility developed in his non-representational paintings. 

 allows for the construction of geometric divisions rendered with expressive brushwork. The scene is devoid of human presence, providing an opportunity to contemplate the forms and colors of the place itself, rather than its relationship to people.

Point Sur Lighthouse

Pitch Blackness / Off Whiteness

David Smith

March Sentinel

Holy Mountain, I

Considering Representation, Identity and Community Through Art at the RIT City Art Space

"Untitled" (L.A.)

Archibald John Motley Jr.

Self-Portrait (Myself at Work)

Still Life with Peach Blossoms

Double Nonsite, California and Nevada

Dallas Museum of Art  -  Dallas, TX

Orlando Museum of Art  -  Orlando, FL

James A. Michener Art Museum  -  Doylestown, PA

James A. Michener Museum of Art  -  Doylestown, PA

Edward Jean Steichen

Partner Story - Mennello Museum of Art and Orlando Museum of Art

A new partnership between neighbors in Florida

In Exaltation of Flowers

Richard Diebenkorn

Cityscape #3

Hockney has called the Grand Canyon “the biggest place you can look out over that has an edge.” The scale and composition of 15 Canvas Study of the Grand Canyon creates an immersive experience for the viewer that attempts to convey this sentiment.

This work is rooted in Hockney’s understanding of art history; the panoramic landscape refers to nineteenth century depictions of the American West, while the grid-like configuration evokes twentieth century minimalism.

The work also references the artist’s personal history, recalling vivid childhood dreams of adventure. Growing up gay in England, Hockney felt isolated, and he responded to Hollywood’s version of the American West as a place where outlaws and outsiders belonged. 

The lonely vastness of the Grand Canyon may also allude to the tragedies of adulthood, symbolizing the emptiness that the artist felt after losing many friends to the devastation of AIDS. 

Frank Lloyd Wright
Architectural Drawings by Frank Lloyd Wright

About

Artist

Dimensions

Credit Line

Date

Medium

Object Number

Provenance

Availability

Discover More

Frank Lloyd WrightArchitectural Drawings by Frank Lloyd Wright

About

Artist

Dimensions

Credit Line

Date

Medium

Object Number

Provenance

Availability

Discover More

Frank Lloyd Wright
Architectural Drawings by Frank Lloyd Wright