In 1967 the Polish-born artist and Holocaust survivor Gershon Iskowitz (1919–1988) created a series of paintings; his first compositions with ovoid forms floating on a neutral background. Each one was titled Landscape, preceded by spring, summer, or autumn. The largest group, called Autumn Landscape, had eight numbered variations. Iskowitz’s use of “landscape” in the title reinforced the interpretation that his work was derived from nature—he even referred to leaves when speaking of the 1967 works. Yet he rarely offered details about his inspirations and process beyond a few repeated poetic and idyllic responses to interviewers’ questions. He expected the compositions to speak for themselves. In all likelihood, Iskowitz applied the titles rather than “painting to them.”