Shiva sits with his consort on a double lotus pedestal. He has six arms, his right three are in varada mudra [a giving gesture], holds a rosary and an arrow. His left arms cup his consorts left breast and hold a lotus flower and a bow. He sits in royal ease, with one leg pendant. He wears bracelets, armlets, necklaces, earrings, and a sacred thread that stretches form his left shoulder down past his waist. On his head he wears an elaborate jatamukuta, a crown interlaced with his matted locks. Parvati sits upon his knee with one leg tucked under her and the other pendant. She is also adorned with jewelry, but wears a more modest diadem at the front of her head.
To complement Shiva’s character as an ascetic, he is also a husband and lover. His consort is known by various names, in this case as Parvati, the daughter of the Himalaya. Both the Pala dynasty in the northeast and the Cola dynasty in the south developed sophisticated traditions of bronze sculpture featuring this ideal couple. In this small but exquisite bronze from the northeast, the artist depicts Shiva and Parvati in animated and intimate conversation.
This pair of finely carved bust-length figures depicts two men in ecclesiastical garb. On the right appears an older figure who wears elaborate vestments and a papal tiara with a book in his left hand. His deeply lined and wrinkled face conveys a patient wisdom and authority as he stares directly ahead. His more youthful companion, dressed in a simpler collared robe and brimless cap, glances introspectively aside. He grasps an unfurled scroll in his left hand and a diminutive lion stares out from its perch on his left shoulder.
This pair of bust-length figures represents an aged Saint Gregory the Great crowned with a papal tiara and a younger Saint Jerome with a miniature lion, his usual attribute, resting on his shoulder. Due to the fundamental importance of their writings in Catholicism they came to be known as Doctors of the Church, and these two busts probably appeared alongside busts of the other two doctors, Saints Ambrose and Augustine, in the base of an elaborate carved altarpiece.
A woman sits on the left holding a nude infant in her lap. An aureole of light radiates around her head as she looks downward toward the child, who returns her gaze. A bearded bishop wearing a miter and holding a crosier kneels before them on the right.
This chiaroscuro woodcut depicts the Virgin and Child being adored by an unidentified bishop. The print was made after a drawing by the Sienese painter Alessandro Casolani (ca. 1552-1607) by the Mantuan artist Andrea Andreani, who resided in Siena from 1586 until 1593. Andreani excelled at creating complex chiaroscuro woodcuts printed from multiple blocks. While some of his grandest prints incorporated forty blocks, this more humble example nevertheless seamlessly integrates four different blocks to produce a single image.
In the foreground, a group of several figures, dressed in graeco-roman clothing, surround a man lying in bed. The setting has classical architectural components such as columns and pediments and a large stone sundial in the upper left corner. The figures are painted in bright colors (blue, white, gold and red) but the rest of the composition is painted in muted colors (gray, brown, dark green). Most figures are gazing up at the sundial.
This narrative painting depicts a scene from the Old Testament (2 Kings 20:1-11) account of the illness and cure of Hezekiah, 13th King of Judah. After being told by the prophet Isaiah that he will die, Hezekiah prays to God. Isaiah receives word from God that the king will recover in 3 days and be granted 15 more years of life. As a sign that this will happen, God causes the shadow of the sun on the sundial to go backwards.
In this painting, a group of men are gathered around the bed where King Hezekiah lies ill. Three men are talking to each other, but the rest, including the king, are staring and gesturing toward a large sundial in the upper left corner of the scene. The prophet Isaiah, in a white cloak, stands at the top of the stairs, above the group.
Although the subject matter is a biblical story, the setting and clothing of the figures is Graeco-Roman.
36.4 cm x 28.5 cm x 1.9 cm (14 5/16 in. x 11 1/4 in. x 3/4 in.)
This is an etching of an adult faun sitting to the left and a child faun standing to the right. The adult faun sits on a tree stump and holds the left hand of the child faun. There is a slender tree on the far right and additional foliage in the left side
In front, a woman wearing a hat depicted in profile faces to the left with three male figures behind her, one of which, depicted in profile and facing to the right, has the top of his head cut off; the background is comprised of architectural and figural fragments.
Grosz targeted a range of occupational and class types for scathing observation during the early Weimar years. These decidedly ugly denizens of the interwar Berlin street, which typically include pompous industrialists, strutting military leaders, and prostitutes, are often fragmented, truncated, and depicted in outline in cubo-futuristic juxtaposition with architectural fragments and other figures.