Provenance

Thurlow Evans Tibbs, Jr.

American, 1952 - 1997

Explore selected works

See all 35 works of art
Shown from the shoulders up, a woman and man, both with brown skin, look at each other in this horizontal portrait painting. Their bodies are angled toward each other and both have black hair, dark eyebrows, and full, coral-red lips. To our left, the woman faces our right in profile. She has a delicate nose and high cheekbones. Her eyes are painted with black lashes over black eyes, without the white of the eye. A gold disk earring hangs from the ear we can see, and she wears white and royal-blue beads in two necklaces. Her hair is combed or styled close to her head, and a swath of brick-red fabric, flecked with golden yellow, wraps around the back of her neck. A scarf with butter-yellow, denim-blue, and red stripes in a plaid pattern is draped across her shoulders, over a rose-pink garment. To our right, the man’s face is angled toward the woman but we see both eyes and the far cheek. His hair is closely cropped and he has a rounded nose, curving brows, and full cheeks. The shadows and folds of his white garment are painted with streaks of teal blue. The background behind the pair is patterned with bands and geometric designs of mustard yellow, scarlet red, and teal, with some stylized leaves in emerald and forest green. The artist signed the work in red paint in the lower right corner, “Lois M. Jones.”
Lois Mailou Jones, The Lovers (Somali Friends), 1950, casein on canvas, Corcoran Collection (Museum Purchase from the Estate of Thurlow Evans Tibbs, Jr.), 2015.19.215

The Lovers (Somali Friends)

Lois Mailou Jones · 1950 · casein on canvas ·  Accession ID  2015.19.215

Thickly textured daubs of crimson and brick red, flame and pumpkin orange, butter yellow, and acid green swirl amid a background of dark, pine green to our left and royal blue to our right in this abstract, horizontal painting. Eventually we realize that the reds, oranges, yellow, and bright green create the abstracted form of a person. The head is cut off over the nose, but we see the wide nostrils of the nose and the full mouth, which angles up to our left. The arm to our left extends along the top edge of the painting, and the other arm bends in a hairpin curve. The hands are oversized with thick fingers. Two breasts droop down the body. The person’s right leg, to our left, also bends in a hairpin turn and the other leg extends off the bottom edge of the painting. The paint is so thickly applied that it casts shadows as it swirls across the Masonite.
Sylvia Snowden, Mamie Harrington, 1985, acrylic and oil pastel on Masonite, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.210

Mamie Harrington

Sylvia Snowden · 1985 · acrylic and oil pastel on Masonite ·  Accession ID  2015.19.210

A stream winds through steep, rocky banks that lead back to a complex of buildings under a swirling sky in this nearly square landscape painting. The scene is painted with loose and visible brushstrokes in shades of earthy and wheat brown, tan, forest green, silvery gray, and slate blue. A steep hillock in the lower left corner of the canvas is covered with tall grasses. A barren tree with spiky branches reaches into the sky beyond the hillock. The land dips in front of us, across the right two-thirds of the composition. Just beyond this, the land slopes steeply down to the river tucked into the rocky, canyon-like riverbed. Three people, painted with a few strokes of beige and gray and minuscule in scale, are on boulders near the water about halfway back. Some of the rocky cliff faces are carpeted with green grass and some are bare dirt. A complex of buildings beyond a chain link fence are painted with shades of steel gray, rust red, and dark brown. A celestial-blue water tower stands to the left of center on the horizon, which comes two-thirds of the way up this composition. Some brick-red streaks in the distance to the left are difficult to make out, but might be another structure. A few streaks of white sunlight pour down through breaks in the swirling dark gray clouds in the sky above. A few glimpses of blue sky are visible near the top center of the composition.
Edward L. Loper, Quarry, c. 1939/1940, oil on canvas, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.208

Quarry

Edward L. Loper · c. 1939/1940 · oil on canvas ·  Accession ID  2015.19.208

Robert Dilworth, Reaching, 1979, graphite and colored pencil on graph paper, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.3010

Reaching

Robert Dilworth · 1979 · graphite and colored pencil on graph paper ·  Accession ID  2015.19.3010

""

Landscape

William A. Harper · 1906 · oil on canvas ·  Accession ID  2014.136.157

This print depicts a group of people on a tilting sailboat. The view is slightly elevated, showing the individuals on the boat and the water around them. The horizon is high in the composition, with the low sun on the right side casting a pale glow on the gray scene. The sail is near the top left corner of the print, with several long ropes connecting it to the small boat. Several people appear to be clustered together in the back of the boat, but they are not depicted in detail. One person is near the front of the boat, their back to us, looking out towards the sun. On the far right, the shadowy silhouette of a person is visible on the waves.
Henry Ossawa Tanner, Christ Walking on the Water, 1910, etching in black on laid paper, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.3016

Christ Walking on the Water

Henry Ossawa Tanner · 1910 · etching in black on laid paper ·  Accession ID  2015.19.3016

""

Carmel Mission, Monterey, California

Grafton Tyler Brown · 1886 · oil on canvas board ·  Accession ID  2015.19.205

A hilly terrain with ridges, bushes, trees, and rocks outlined in dark brown and filled in with earthy tan and pecan brown, goldenrod yellow, and moss and emerald green almost fills this nearly square, stylized landscape painting. Framing the scene is a steel-gray, broken tree trunk to our left and a small grove of leafless bushes, with vertical, nearly straight branches to our right. Another grove of tightly spaced tree trunks is clustered near a smoky, plum-purple ridge at the back center, and a touch of clear blue toward the lower right corner suggests a winding stream. A narrow band of sapphire-blue sky along the top edge of the canvas is streaked with white clouds painted with long swipes of the brush. The artist signed the work in the lower left corner, “Hale Woodruff.”
Hale Woodruff, Landscape, 1936, oil on canvas, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2014.136.160

Landscape

Hale Woodruff · 1936 · oil on canvas ·  Accession ID  2014.136.160

A brown-skinned man stands on a beach among poles driven into the sand, near a line of six rowboats pulled onto the shore near a slate-blue body of water in this horizontal painting. The scene is loosely painted in some areas so brushstrokes are visible, especially in the landscape. The man stands to our left, facing away from us with his head bowed. He has broad shoulders, muscled arms, and a narrow waist. His left arm is bent so that hand tucks into the waistband of his olive-green pants. His right elbow is bent so his body obscures his hand. He wears a white, sleeveless undershirt tucked into his pants. Wind blows the wide cuffs of his pants to our right. Seventeen gray, irregularly spaced poles, at least half again as tall as the man, stand upright around the man and along the beach. Pink ribbons hang between the poles, connecting many of them. The six rowboats sit in a line to our right, with the far end of the boats slightly tipped up so we can look down into them. The beach is made of rough mounds of peach and caramel-brown sand, with oyster-white rocks casting dark shadows. Beyond the shore, the flat surface of the water stretches to the horizon, which comes just over halfway up the composition. Horizontal strokes of flint-gray along the right half of the horizon could be distant hills or land. The sky above is streaked with dove gray against slate blue, with a few touches of pale, butter yellow. The scene is lit low from our left, highlighting the white stones, the man’s white shirt, and the front ends of the rowboats. The artist signed and dated the painting in the lower right: “Lee-Smith ‘57.”
Hughie Lee-Smith, Reflection, 1957, oil on particle board, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.207

Reflection

Hughie Lee-Smith · 1957 · oil on particle board ·  Accession ID  2015.19.207

This painting is a composition of vertical lines made up of irregular segments. These lines are in various colors, and have been made with short, distinct brushstrokes. The lines are in purple, green, pink, red, and gray hues. Some of the white of the canvas is visible between the brushstrokes.
Alma Thomas, Autumn Drama, c. 1969, acrylic on canvas, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr.), 2015.19.211

Autumn Drama

Alma Thomas · c. 1969 · acrylic on canvas ·  Accession ID  2015.19.211