Opinionated, driven, and always intellectually engaged, Charles Biederman was an artist acclaimed at his debut as one of America's most promising Modernists, whose relocation to rural Minnesota after 1942 took him out of the mainstream of critical discourse in this country, even while his refinements of style (and voluminous self-published theoretical opinions) brought acclaim from European Modernists—and now, belatedly, from his comp

This vessel reflects the influence of Inca imperial expansion on coastal ceramic styles. This Late Horizon (1400-1532 CE) Chimú blackware vessel exhibits the distinctive features of a common Inca feasting vessel form, the aryballos—a long, constricted neck, wide body, and pointed base.

This vessel reflects the influence of Inca imperial expansion on coastal ceramic styles. This Late Horizon (1400-1532 CE) Chimú blackware vessel exhibits the distinctive features of a common Inca vessel form, the urpu.

The stirrup-spout bottle form was the most enduring decorated vessel type on the north coast of Peru. The burnished black vessels were produced through firing in a reducing atmosphere that transforms the mineral-rich clay color into this smooth ebony surface.

The stirrup-spout bottle form was the most enduring decorated vessel type on the north coast of Peru. The burnished black vessels were produced through firing in a reducing atmosphere that transforms the mineral-rich clay color into this smooth ebony surface.

In 1923 and 1924, Stuart Davis painted a series of images based on common artifacts of modern life-- an eggbeater, a saw, and in Electric Bulb, a light bulb and its c

The silver cup represents the formal diversity associated with Late Horizon (1400-1532 CE) vessels. This example exhibits the remains of plain weave textile still adhering to the outer metal surface, signifying that it was wrapped at the time of deposition.

A painter of the Taos school, Victor Higgins was born in Shelbyville, Indiana, in 1884. He studied at the Art Institute in Chicago, the Chicago Academy of Fine Arts, the Académie de la Chaumiere in Paris, and in Munich under Hans von Hyedk. Many of his early attitudes toward art were influenced by his contact with the progressive ideas of Robert Henri and his followers in New York.