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The Collection Paintings
Trees at the Pond

Sylvia Plimack Mangold (American, born 1938)
Trees at the Pond, 1985
Oil on linen
Tampa Museum of Art. Gift of Mrs. Kathleen Rozier in memory of Judith R. Blanchard 1988.5
Trees at the Pond
Sylvia Plimack Mangold (American, born 1938)
Trees at the Pond, 1985
Oil on linenTampa Museum of Art. Gift of Mrs. Kathleen Rozier in memory of Judith R. Blanchard 1988.5
Sylvia Plimack Mangold became attracted to landscape motifs in the late 1970s, initially depicting the images as seen through a window or as a drawing “taped” to the studio wall. Her subject matter increasingly occupied the surface of her canvases, pushing out to the painting’s physical edges. Mangold’s images are based on the Hudson River Valley where she lives.
Cedar Pole

Neil Welliver (American 1929-2005)
Cedar Pole, 1979
Oil on canvas
Tampa Museum of Art. Gift of Mr. and Mrs. William A. Small, Jr. 1994.63
Cedar Pole
Neil Welliver (American 1929-2005)
Cedar Pole, 1979
Oil on canvasTampa Museum of Art. Gift of Mr. and Mrs. William A. Small, Jr. 1994.63
Landscape

William Pachner  (Czechoslovakian/America, born 1915)
Landscape, 1976
Oil on canvas
Tampa Museum of Art. Gift from the Collection of Anne B. Winslow 2002.35
Landscape
William Pachner  (Czechoslovakian/America, born 1915)
Landscape, 1976
Oil on canvasTampa Museum of Art. Gift from the Collection of Anne B. Winslow 2002.35
A winter resident of the Gulf Coast since the early 1950s, William Pachner celebrates the natural landscape of Florida in this abstract painting. As with much of Pachner's work, viewers are not always sure what they are looking at. Not only is the subject matter abstracted, but it also acts as a metaphor. The energy of the colors play off one another and buzz with feeling, resulting in what the artist calls an “imagined landscape, a scene from his inner life.” Pachner states, "It is memory, it is imagination, it is spontaneity, it is conscious and unconscious. Finally, then, it has to be art. If it isn't art, screw it. What is it then? A pretty picture? Confetti?” Born in Czechoslovakia in 1915, Pachner lost sight in his left eye at age 5, when the knife he was using to sharpen a pencil slipped. Despite this injury, he became a professional illustrator, immigrating to the United States in 1939. In 1946, Pachner learned that the Nazis had murdered his entire family and ended, among other things, his career as a commercial illustrator. He began painting and in 1951 started teaching art in Florida. He eventually began to lose sight in his other eye, and by the early '80s, could no longer work in color. He turned to black and white, then collage, relying on others to help him place the pieces. He eventually became completely blind and stopped producing art.
Preliminary Study for the Centurion

Jon Corbino (Italian/American, 1905-1964)
Preliminary Study for the Centurion, 1950
Oil on canvas
Tampa Museum of Art. Gift of Marcia Corbino 2003.7
Preliminary Study for the Centurion
Jon Corbino (Italian/American, 1905-1964)
Preliminary Study for the Centurion, 1950
Oil on canvasTampa Museum of Art. Gift of Marcia Corbino 2003.7
This painting is a preliminary study for a religious work that is in the collection of the Indianapolis Museum of Art. Reflecting the symbolic manifestation of man's struggle against the forces of the universe, the painting also reveals the anxieties of America during and after World War II. In depicting such heroic themes, Corbino was influenced by the Old Masters, especially Italian Renaissance painters, El Greco, and Salvador Dali. In this particular painting which depicts the end of a crucifixion, the artist has combined traditional characters with contemporary images.
Sunflower

Willie Cole  (American, born 1955)
Sunflower, 1994
Willie Cole
Willie Cole
Scorched canvas and lacquer on padded wood
Tampa Museum of Art. Museum Purchase 2004.12
Sunflower
Willie Cole  (American, born 1955)
Sunflower, 1994
Willie Cole Willie Cole Scorched canvas and lacquer on padded woodTampa Museum of Art. Museum Purchase 2004.12
In Sunflower, Cole created an elaborate composition of a sunflower by repeatedly scorching the hot surfaces of irons onto the canvas. The motif refers to the artist Vincent van Gogh, who likewise employed this imagery. Cole’s act of scorching the canvas suggests the branding of skin. The resultant patterning is also akin to West African printed cloth. In a spiritual context, the scorched painting represents the force of Ogun, the African god of iron, labor, and war and the “patron saint” of metalworkers and blacksmiths among the Yoruba people of West Africa. Cole evokes Ogun through his choice of materials and motifs, and relates to the deity as an artist himself through the same means.
Untitled

Purvis Young  (American, born 1943)
Untitled, about 1985-99
Paint on wood
Tampa Museum of Art. Gift of the Rubell Family Collection, Miami, FL 2004.46.37
Untitled
Purvis Young  (American, born 1943)
Untitled, about 1985-99
Paint on woodTampa Museum of Art. Gift of the Rubell Family Collection, Miami, FL 2004.46.37
Using materials that he finds, recycles, combines, and constructs, Purvis Young produces paintings that echo the hopes and the joys of his world, the inner city of Miami called Overtown. He uses a personal visual language that expresses his concerns combined with symbols of history, myth, and religion. His paintings eliminate all sense of traditional composition and perspective for expressiveness. Ultimately the paintings are a fusion of African-American, folk, and abstract art, celebrating as well as criticizing the black American experience.
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