This drawing is done in brownish ink and wash against a light background, has a narrow horizontal format. It shows a group of figures clustered into the right half of the composition. The central figure is a bearded man, seated under a tree, gazing upward as he holds a loaf of bread in one hand and raises his other hand up in the air. The other figures- two men, a woman and a child- are looking at him intently .
The subject of this drawing is the "Miracle of the Loaves and Fishes" from the New Testament of the Bible (John 6:5-14). Christ instructed his disciples to distribute a young boy's five loaves of bread and two fish to a large crowd that had gathered. All were fed from this small amount of food. In this drawing, Christ is seated in the middle of the group and his hand posture and skyward gaze suggest that the artist is depicting the moment when Christ blessed the loaves and fish before they were given to the crowd.
This black and white print shows an outdoor setting with two men, one reclining and facing the viewer, the other seated with his legs drawn into his chest and gazing out to the right. They are dressed in robes and wear Arabic headdresses ("Guhtra"). There are rifles at their sides. In the background on the right are two men, one riding a horse, who walk toward a group of buildings in the distance. There is a French inscription below this scene that identifies the artist, title and publisher of the print.
Delacroix's visit to Algeria and Morocco in 1832 gave him direct experience with the exotic land and culture of North Africa. This scene depicting two hunters from the Algerian city of Oran shows both the dignified mien of the men as well as the accurately portrayed details of dress and weapons.
On the plate, l. center: Butterfly monogram Signed, in pencil, on tab: Butterfly monogram and imp. Collector's mark: H S T H.S. Theobald (not in Lugt in this form, in pencil) Collection (no mark): C.W. Dowdeswell
Viewed at night from the water, a man works deep inside an interior that is brightly lit from an unseen light source. Surrounding the threshold are dark lines indicating the shadowy exterior space. To the left of the doorway is a window that is partly open to reveal a figure standing facing outward towards the viewer.
"Nocturne: Furnace" brings together in one image several of the recurring themes in Whistler's art: the nocturne itself; images of men working at forges or furnaces (in this instance perhaps a glass-blower); scenes viewed through or framed by doorways. Here, plate tone evokes the gloom of the dark canals at night and the figure of the man working at the furnace continues Whistler's interest in Dutch interiors and in images of working men.
An open public space dominates the foreground of the image. In that space are several groups of children, particularly at the lower left of the image, a rooster at the lower right, and a water pump at the far side of the square just before the fence. Beyond is a street that receeds into the distance; on either side of the street are picturesque older buildings that face onto the square with banks of windows, overhangs, and steeply pitched rooflines.
This scene of a village square is of the Cattle Market in Sandwich, Kent. His interest in shopfronts and figures in urban settings is here converted to a village setting with deep perspectival recession, the group of girls at the lower left completing the diagonal angle of the street and bringing that diagonal to the front of the composition.
This watercolor on brown prepared board is vertically oriented. The piece
is reputedly a view of a Parisian street (perhaps in the 8th arrondissement), and the perspective is as if the viewer is on the fourth floor of an adjacent
building. The upper two-thirds of the piece show a building-lined street,
curving gently to the left. The buildings are about six stories tall, and
additional rooftops are barely visible in the distance. On the ground
floor of the buildings, there are traces of people, shops, and cafés. In
the bottom third of the work, the road dissolves, but forms suggesting a
few people populate the space.
This work was painted around the time Whistler turned 50. The artist had just lived in Venice for a year (1879-80) and was now living in London. Rue Laffitte is in the 8th arrondissement of Paris, between the Boulevard des Italiens and the Rue de Provence. Whistler created over 1700 watercolors in his lifetime. He painted thinly, leaving areas blank to suggest light or texture. He outlined a subject in pencil or brush, and then added washes quickly with small brushes, altering, but rarely rubbing out.