This gallery includes a collection of abstract human figures. Where a majority of portraits crafted before the 20th century resembled careful detail and realistic qualities, the figures here are more fantastical. Every piece appears to have been applied with thick, heavy strokes of unusual color. This allows for such an abstract feel of human silhouettes posing in their rightful places. As each portrait has been done in the last hundred and ten years, this gallery is relatively modern. It opens up a fresh kind of human perception and self-expression. 

In this glowing portrait of two naked women, Kirchner demonstrates how body language can be influenced from simple shapes and stroke direction. It's clear that the two figures are insecure with their naked bodies, so they pretzel themselves on what appears to be a couch. What qualifies this piece for the gallery is its rough and edgy line patterns along with its glowing colors. Dark colors contrast against the neon ladies, proving them to be fantastical. This is a great example of human perception.
Again, Kirchner uses an arbitrary color scheme and finger-painting style technique to show this woman sitting in a chair. His line methods are more of paintbrush smudges. Frenzy's face is a lime green that contrasts dramatically against its thick black shadows and outline. It belongs to this collection for its distortion of real human figures and style of painting.
Here, three naked figures are in the midst of movement in the foreground of a mountainous landscape. Entitled "Bathers," the three are either ready to or have just finished washing themselves in the stream. Like Kirchner's previous two pieces, the three figures are contrasted by darker outlines around their silhouettes, and their bodies are sketched out roughly with thick lines. The pink landscape against the dark and light blues of water and greenery are what give this piece its beauty.
This portrait of an abstract woman is emphasized by the texture and color of her body and breasts. Clyfford Still captured a martian-like figure with this woman of blue green against a dark outline and background. One can notice that her hands are a bit smudged as well as her hair being just one big blob of dark blue. This proves this piece to be worthy of this collection with its edgy style.
One of the most incredible pieces in the gallery, David Park uses heavy color contrast and a freedom of thick lines as well as the other artworks. With one woman in the front as her hands rest on her lower back, another figure stands in the background with their arms high. The silhouettes of the strangely colored figures represents significant body language. This shows a repetitive pattern of human representation in an abstract form.
With this piece, David Park makes it almost impossible to interpret the two figures. The painting is simply of two human heads expressing what appears to be worry or confusion. Just by looking at how the nose is constructed on the figure of the right, viewers can see the almost "sloppy" style of Park's paintings. Again, one can see a structure similar to finger-painting in the collection.
This painting by Sidney Nolan illustrates a soldier smoking a cigarette during the existence of an Australian War. The dark strokes around his eyes suggest distress. We also can make note of the quickly sketched hat and war attire. What differs from a lot of the other pieces of the collection is that his face is just a shade or two lighter than the background. It doesn't contrast as well with the background, but it does with the clothing. Also, there is a reflection of the same stroke style-- heavy, thick, and flat.
This self-portrait by Yoo, Geun Taek is similar to a collage of cut up magazine triangles. It doesn't blend from corner to corner as a more comfortable portrait would. As the entire collection, it is meant to portray human figures as abstract. The blue face is almost scary against the dark black background, giving off the vibe of nightlife. In the face and the shirt of this figure, we can see that most of the strokes aren't even connected. There is gaps left to show that this isn't meant to realistically resemble the figure.
Being one of the most outstanding pieces in the collection, the painting of two figures on a bench is anything but ordinary. They're portrayed as human-like silhouettes, but their monstrous colors and scribbled faces are what make them fantastical. What makes this piece of is its contrast of color and heavy outline around the figures. Also, the stripes of the bench are the only thing in this piece that's even close to orderly. The rest of the painting is chaotic: the figures arms, expressions, and their legs.
The last piece in the collection, this painting shows a man drawing on paper. His shoulders high and head focused, he is very tuned in with what he's doing. What draws an audience to this piece first is the bright red against the dark human figure. His face looks unfinished and it's almost too hard to tell where his arms are coming from. This resembles yet again the rough, edgy stroke techniques and scribbling. Fascinating yet chaotic, it gives off a different feel for each person observing.
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This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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