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Ossorio's Full Mother and Dubuffet’s Corps de Dame reflect the artists’ belief that, according to Dubuffet, “Painting is a more immediate and direct vehicle than verbal language, much closer to the cry.”

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In Perpetual Sacrifice, an extraordinary array of individual elements and distinct layers is combined into a harmonious yet disconcerting unison.

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Pollock’s Collage and Oil and Number 2, 1951 contain torn, wrinkled fragments of Japanese paper soaked in glue that had been splattered with orange gouache and black paint or ink.

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Ossorio returns over and over to the motifs of mother and child, family, angel, crucifix—the traditional iconography of Catholicism, the faith of his childhood.

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Bought by Alfonso Ossorio in 1951, Lavender Mist exemplifies Pollock’s interest in experimentation and in expanding the language of traditional easel painting.

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In Reforming Figure there is tremendous detail and layering; Ossorio creates an incredible sense of veils, forms, and color.

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The Child Return is one in a series of highly personal paintings made by Ossorfio during his visit to the Philippines, filled with references to his Catholic faith and themes of birth, childhood, family life, and death.