A dark horizontal opening shows three men working and talking. Above is an arched recess, at the top of which is an open window with a plant. Below the large horizontal opening, a chicken stands in the street just below.
Whistler frequently depicted figures in dark interiors, and forges, smithys, coopers, etc. provided him with suitable material to explore such effects. This image was drawn not far from where the artist lived in Paris in a region of tinsmiths and other metal workers between the rue de Rennes and the cour du Dragon, an area demolished in the early 20th century.
Goldweight in the shape of an upside-down, U-shaped fish, of unknown species, with a bifurcated tail, a series of small spiraling circles along its spine, a long neck with horizontal incisions and a stylized human head with eyes, nose and mouth.
This is an example of a figurative gold weight, as they were used among the Akan-speaking peoples of Ghana and Côte d'Ivoire to weigh out units of gold dust. Representations of fish are common in Akan gold weights; this particular example might represent an imaginary fish or the invisible spirit of the water itself. As a rule, the various spirits, gods, and divinities inhabiting the Akan universe, such as the spirit of the water, have no material form and cannot be seen. However, they have the ability to take on a human or animal form (or a combination of both) and make themselves visible to privileged members of the village community on special occasions.
The drawing is mounted on an album page of a yellowish color flecked with gold. There is a narrow frame in a slighter lighter tone outlined with gold and red lines. The main figure sits facing the viewer and is in a long robe. An emaciated, nearly nude figure faces him squatting with his hand on one knee. Another ascetic stands and offers obeisance to the master. One dog rolls around in front of him and another on a leash walks behind him. There is a clump of bushes to the lower left and a tree to the upper left tops a diagonal leading down to the right with a large group of twisted trees.
This compelling drawing depicts a group of Kanpats, a very specific type of ascetic or yogi. Worshippers of Shiva, the Kanpats wore large earrings made of bone and kept dogs as pets. Working with brush and ink on paper, the artist has skillfully combined faithful observation of nature with a bold stylization of forms, a trait that characterizes the best of Mughal painting and drawing.
The small notations at the bottom give no information about the subject or artist, and may have concerned the placement of the painting within an album. It was frequently the case that Mughal paintings were collected and placed in albums, either at the time they were made or by later owners.
Image of a man on horseback with two men flanking him
Ram Singh II of Kota (ruled. 1827-66) was the last great patron of Indian miniature painting. With the rise of the British Raj, most native princes adopted the Eurocentric fashion for photography and oil painting. Ram Singh, by contrast, retained his court atelier and used painting to record his often eccentric activities: one painting depicts him shooting a tiger while making love.
This colored drawing shows Ram Singh on horseback in idealized form, dwarfing two miniaturized attendants. The drawing may quote depictions of a curious episode of 1850, in which the Maharao rode a horse upon the roof of his palace. Following the performance, he held a special assembly in a room decked out exclusively in pink (guests too were asked to don pink clothing and turbans).
Signed and dated in pencil, l.r.: Alechinsky 1970 Stamp in black ink in upper l. corner of verso: Timbre/1F/50c Blind stamp of seated woman (below inked stamp): Republique Francaise (?) Embossed stamp on verso, u.l.c.: P. LOUIS NOTAIRE / (illegible)
This black and white print shows an outdoor scene with lush leafy trees, open sky and mountains in the far distance. Two figures are walking along a wooded path in the foreground- one is a man with wings wearing robed garments and the other a younger man carrying a single large fish. There is a city shown in the middle distance through the trees and a pasture scene depicted on the right.
As with most the Goudt's prints, this composition is based on a painting by Adam Elsheimer, a German painter and friend of Goudt's whom he knew when both were residing in Rome. This scene is based on the Old Testament story of Tobias who, accompanied by the angel Raphael, brings home a fish whose gall cures the blindness of his father, Tobit.
A group of figures are seen kneeling at the lower left in preparation of eating an al fresco meal. The figures consist of two women, two men, and a child, accompanied by a dog, curled up at the bottom right and two lambs or sheep at the right side. Two standing men and a cow are visible, as is the landscape behind the figures that include trees and a house.
Throughout, the work is unified by the consistent fluid and dense pen strokes that describe the figures and animals as well as the distant landscape and sky.
Whether a studio product or remembered from life, a quick sketch as this could be employed in either a genre scene or incorporated into a biblical subject. The interest in rough peasant life is celebrated in this drawing
This terracotta is modeled in the shape of a ram’s head. The snout is softly modeled by hand and his two horns form coils to either side of his head. A decorative band with punch-marked floral decoration on it divides the snout from the area of the head with the spiral horns. The horns are decorated with lines and encircle a donut shaped element in the center. A floral motif is between the two above the decorative band and other punch-marked floral forms decorate his snout at the top and at each cheek. His eyes are incised in a diamond pattern with a circular center and his nostrils are simple indentations.
Throughout the history of Indian art, animal figures were often depicted with a sense of naturalism, as seen here. With very simple means the artist has given us a convincing figure of a ram’s head. He has modeled the clay by hand, using a sharp tool to punch decorations, much as one would stamp designs into leather.
Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.
This phallic representation of the god Shiva appears as a columnar head placed on a base with two rounded moldings on top of a series of square ones. His neck is fully cylindrical and the face is modeled on that cylinder. The eyes are wide open and a bow shaped eyebrow curves over them. He has a flared nose and luxuriant moustache over a narrow but full lips and a short ball like chin. A ‘U’ shaped element consisting of lines and a pearl motif probably represents his beard, perhaps held up in a tight net. His forehead is decorated with three raise lines that go straight across and his crown is basically flat over his hear decorated with a bunch of peak forms in the center with a finial surmounting the whole. His ears fan out almost like handles to a jar and are decorated with stylized arabesques. A five-headed snake hood rises behind the head and has a rib down its center and scale motives incised towards the bottom an ‘S’ shapes t denote the cobra ‘eyes’ to each side.
Shiva is often worshipped in his aniconic form of the linga, a representation of the creative power of the phallus. Often the form is quite abstract, being a simple shaft with lines representing a formalized glans penis. But in many cases the shaft is decorated with a face of the god, mukha meaning head and can be seen as eka (one) or sometimes at catur (four) facing the cardinal directions: hence we find ekamukhalingas and caturmukhalingas as well as lingas that are totally plain. A snake hood acting as a canopy over the linga is also very common, adding sanctity to the image. Snake symbolism reflects ancient pre-Hindu religious practice and was absorbed into a number of religions that developed in India.
Clear glass saucer with milky, iridescent free-standing form in the center shaped like a rabbit.
Inspired by the Art Nouveau movement, which was characterized by organic forms and motifs derived from nature, René Lalique’s works—often featuring various flora and fauna including animals, such as the rabbit seen here—played with the effects of transparency and surface treatment.