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The collection

21 works match your filters.

Medium:Print16 Drawing3 Painting2

Image

With image21
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1990s5
1980s4
1970s3
1960s12
1950s108
1940s21
1930s12
1920s61
1910s40
1900s5
1890s5
1880s4

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Painting2
Print16
Drawing3

Institution

The Museum of Modern Art21

Nationality

- Europe
- Americas
American267
French57
German29
Brazilian20
Danish19
Italian14
Spanish14
Cuban13
British12
Swiss10
Mexican8
Chilean7
Belgian3
Uruguayan3
Austrian2
Colombian2
Czech2
Ecuadorian2
Dutch1
Guatemalan1
Haitian1
Romanian1
Russian1

Movement

Impressionism5
Constructivism1
cubism1
Suprematism1

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Iacy from Maria 1946, Maria Martins, 1946, Etching and drypoint from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Iacy from Maria 1946

Maria Martins · 1946

Etching and drypoint from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Without Echo (Sans-écho) from Maria 1946, Maria Martins, 1946, Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Without Echo (Sans-écho) from Maria 1946

Maria Martins · 1946

Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Explanation III (Explication III) from Maria 1946, Maria Martins, 1946, Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Explanation III (Explication III) from Maria 1946

Maria Martins · 1946

Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Implacable Place (Place à l'implacable) from Maria 1946, Maria Martins, 1946, Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Implacable Place (Place à l'implacable) from Maria 1946

Maria Martins · 1946

Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Like a Vine (Comme une liane) from Maria 1946, Maria Martins, 1946, Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Like a Vine (Comme une liane) from Maria 1946

Maria Martins · 1946

Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Explanation I (Explication I) from Maria 1946, Maria Martins, 1946, Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Explanation I (Explication I) from Maria 1946

Maria Martins · 1946

Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Explanation IV (Explication IV) from Maria 1946, Maria Martins, 1946, Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Explanation IV (Explication IV) from Maria 1946

Maria Martins · 1946

Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Wrapper front from Maria 1946, Maria Martins, 1946, Engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Wrapper front from Maria 1946

Maria Martins · 1946

Engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Impossible from Maria 1946, Maria Martins, 1946, Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Impossible from Maria 1946

Maria Martins · 1946

Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Maria 1946, Maria Martins, 1946, Portfolio with nine etchings (four with aquatint and engraving and one with drypoint), one engraving; and supplementary suite of nineteen collotype reproductions of sculptures

Maria 1946

Maria Martins · 1946

Portfolio with nine etchings (four with aquatint and engraving and one with drypoint), one engraving; and supplementary suite of nineteen collotype reproductions of sculptures

The Museum of Modern Art

Explanation II (Explication II) from Maria 1946, Maria Martins, 1946, Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

Explanation II (Explication II) from Maria 1946

Maria Martins · 1946

Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving

The Museum of Modern Art

Study for Ouro Preto: St. John's Eve, Alberto da Veiga Guignard, 1942, Ink on paper

Study for Ouro Preto: St. John's Eve

Alberto da Veiga Guignard · 1942

Ink on paper

The Museum of Modern Art

Abstract Drawing, Aleksandr Rodchenko, (1941), Ink on paper

Abstract Drawing

Aleksandr Rodchenko · (1941)

Ink on paper

The Museum of Modern Art

Couple in the Mangue (Casal no Mangue) from Mangue, Lasar Segall, 1941, published 1943, Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

Couple in the Mangue (Casal no Mangue) from Mangue

Lasar Segall · 1941, published 1943

Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

The Museum of Modern Art

The Lovers, Percy Deane, 1941, Pencil on paper

The Lovers

Percy Deane · 1941

Pencil on paper

The Museum of Modern Art

Group from the Mangue (Grupo do Mangue) from Mangue, Lasar Segall, 1941, published 1943, Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

Group from the Mangue (Grupo do Mangue) from Mangue

Lasar Segall · 1941, published 1943

Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

The Museum of Modern Art

Women of the Mangue (Mulheres do Mangue) from Mangue, Lasar Segall, 1941, published 1943, Lithograph with hand additions from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

Women of the Mangue (Mulheres do Mangue) from Mangue

Lasar Segall · 1941, published 1943

Lithograph with hand additions from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

The Museum of Modern Art

Seated Woman of the Mangue (Mulher do Mangue sentada) from Mangue, Lasar Segall, 1941, published 1943, Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

Seated Woman of the Mangue (Mulher do Mangue sentada) from Mangue

Lasar Segall · 1941, published 1943

Woodcut from a portfolio with three woodcuts, one lithograph with hand additions and forty-two line block reproductions

The Museum of Modern Art

Mangue, Lasar Segall, 1941, published 1943, Portfolio with three woodcuts, one lithograph with hand additions, and forty-two line block reproductions

Mangue

Lasar Segall · 1941, published 1943

Portfolio with three woodcuts, one lithograph with hand additions, and forty-two line block reproductions

The Museum of Modern Art

Fishermen, Candido Portinari, 1940, Oil on paper

Fishermen

Candido Portinari · 1940

Oil on paper

The Museum of Modern Art

Girl and Child, Candido Portinari, 1940, Oil on paper

Girl and Child

Candido Portinari · 1940

Oil on paper

The Museum of Modern Art