This study depicts a rectangular chapel with the side walls bent outward at an angle in order to provide a clearer view of the decoration. The chapel design centers upon a sarcophagus placed beneath a painted altarpiece of the Virgin and Child, which are both set within a semicircular architectural projection that extends dynamically from the wall. On the left the pair of angels that support a large oval-shaped painting reach vigorously outward, their wings overlapping the pilasters. On the right appears another sarcophagus surmounted by a pair of putti. Leaning out from the oval niche above the sarcophagus is a female half-figure—probably a portrait of the deceased—making a gesture of devotion toward the altar.
This study for a chapel in Vienna reveals how Pozzo could orchestrate architecture, sculpture, and painting into a seamless decorative program that could transform an interior space into a dramatic religious spectacle. The compelling power of the visual spectacle derives from his ability to blur the boundary between the artwork and the viewer’s space.
This highly detailed drawing in a vertical format depicts the interior of a gothic cathedral looking up at the soaring rib-vaulted ceiling. It appears as though every brick and architectural detail is rendered. The image provides a view into the choir and a transept to the right, which is decorated with a very ornate rose window.
A rendering of the interior of Beauvais Cathedral depicting a view of the choir and north transept.
The scene shows a group of buildings with white colored rooftops. Two buildings rise up in the foreground on the right and left. The right building has a red side with vertical lines hashed into it. The left building has two white triangles on its roof. In the middle ground is a smaller building with a green-domed tower rising up the middle of the composition. A small red figure stands on the white ground to the right of this tower. The background shows the large white rooftop of another building, with small dark rooflines of buildings visible behind it.
This woodblock print shows a city scene of Boston in the snow.
A large crowd in the foreground gesture towards a group of figures seen in the doorway of a building in the distance at center. The figures in the distance, many holding lances, look at a standing semi-nude man framed in the doorway. Other figures look out of windows onto this open courtyard where the figures have congregated. The crowd in the foreground include a figure at the left holding a tall cross and another figures at the right, standing in shadow with a raised hand.
Callot employs a very long horizontal format for his "Christ Presented to the People". The focus of the print is on the crowd in the foreground all gesturing towards the figure of Christ and Pilate shown in the doorway at center.
In the forefront both men and women are dipicted as watching the concert. One man has his head resting on his hand. At the center of the piece lies the orchestra, and more prominently the conductor. The stage is surrounded by curtains.
Print featuring a stage with a figure of a man with his feet touching his head while doing a handstand on a small table flanked by two chairs. His large shadow is cast on the wall behind him. The head and hands of a conductor are visible in the lower right.
Along with fellow members of The Bridge Ernst Ludwig Kirchner and Karl Schmidt-Rottluff, Erich Heckel often turned to images of the circus and cabaret as illustrations of working class, non-bourgeoisie society. Following his two years spent in the lakeside focusing upon nudes at rest and in harmony with nature, Heckel’s artistic focus turned to these theatrical images.
Handstand focuses upon a solitary acrobatic performer on stage. The contorted figure is dwarfed by its monstrous shadow cast upon the stage wall. The head of a conductor leading a brass band is visible in the foreground suggesting that the acrobat is performing before an audience. Along either side of the stage we glimpse columns composed of primitive masks – visual allusions to the Expressionists interest in art of Oceania and the Americas.
ON VERSO. Stamp in purple ink: Nachklass / E. L. Kirchner / (inscribed inside stamp in ink) F DrelBi 3
[KKR: "Nachklass" is "estate" in German]
Inscribed in pencil, lower left corner: K4760
Inscribed in pencil, bottom center: 9.9 x 16.1 cm
Inscribed in pencil, along bottom edge: Abgeb. Shiefler I Seite 45 Wir restaurant
Inscribed in pencil, bottom right corner: 263.L- – 1G-
Signed by artist in ink, lower right: E. L. Kirchner / Davos-Frauenkirch [kkr: Davos in Frauenkirch was the artist's home starting in 1918]
Inscribed in ink, center area; Z-ra / 9 cm / A----- Zurich an
Inscribed vertically along top left edge, in pencil: 3250
Inscribed in pencil along top right edge: Im Restaurant / 1903 [kkr: Im Restaurant = At Restaurant in German]
Inscribed in pencil, top center: 5684
Incribed in pencil, top right: Schiefler / oeuvre katalog [kkr: This refers to the 2-volume catalog on Kirchner which Gustav Shiefler authored in Munich, 1967. The bottom verso inscription also potentially refers to this catalog, giving a page number of 45.]
Artist's sketch from life; Kirchner developed a rapid, stroke-oriented (as opposed to detail-oriented) sketch style when out in the world. Appears to be (though not with certainty) two men conversing on the left, a man accompanied by a woman in a very tall hatt in the center/center-right, and a figure in the far right bottom corner foreground leaning toward a surface (a piano? cleaning a table?). Background and tables are suggested with various lines, but unclear.
Several groups of figures in what could be a restaurant setting, with background.
On plate, l.r.: Whistler On plate, l.r.: Imp. Delatre. Rue St. Jacques. 171. Collection (probably): Sir Francis Seymour Haden Notation [by Whistler?] in pencil, in margin: Seymour Notation in pencil, verso: S.H
A dark interior view is shown with a deep recessed space. At the end of the space is a window; the recessed space is full of reflected light and a woman is seen framed against the bright view out the window. Closer to the viewer, the foreground is filled with domestic objects: furniture on hte left with vases stored on top; a wall rack with plates stored on the right and other objects with basins or pots below the plates.
Based on a watercolor, this etching employs sharp juxtapositions of light and dark to create a sense of mystery; this dramatic use of light recalls Dutch 17th century prints, which were very popular at the time and which Whistler admired. "The Kitchen" became one of the most popular and sought after plates from the "French Set."