This is a square painting with skinny vertical lines of green on a background of red. There are two square forms in the center, each with a diagonal line from the upper left to lower right corners. One square is created by a pinkish, purple line and the other is created by a reddish orange line.
This abstract painting is an example of Op Art where the artist uses a repetition of geometric shapes and contrasting colors to create visual effects such as foreground-background confusion and ambiguous depth perception. Julian Stanczak was a student of Josef Albers, a painter who studied the perceptual qualities of color and the visual effects when various colors are combined
This maiolica dish is covered by a radial pattern consisting of abstract leaves and curling tendrils punctuated with flowers all centered around a yellow disk in the center of the well. The harmony of the design stems from radial symmetry of the pattern as well as the restricted palette of blue and a soft brass-yellow.
It is likely that this dish was produced in the Umbrian town of Deruta, the center of Italian pottery production during the sixteenth century. When this maiolica was produced, there were thirty or forty kilns in operation. Tin-glazed earthenware from Deruta in this period is remarkable for its conservative and consistent styles and shapes, owing perhaps to its geographic isolation. Products from Deruta also include tile-pavements, multi-colored drug jars decorated with complex floral and grotesque designs, and molded plates with relief patterns drawn from religious, historical, literary or mythological sources.
(A. Dixon, 15th-17th Century Gallery installation, early 1999)
This print shows a black horizontal rectangle in the lower left portion of an off-white background. The rectangle is divided in half and each side has a pattern of stripes that create the appearance of inverted u-shaped forms stacked one on top of the other.
Frank Stella began making prints in 1967 in collaboration with Kenneth Tyler at Gemini G.E.L. in Los Angeles. This lithograph is part of his small print series, "Black Series I," that were derived from his earlier stripe paintings from 1958-59.
Shallow bowl with celadon glaze. Four peony designs encapsulated by a double-ringed circle float equally spaced along the inner curve of the bowl. A wavy fret design marks the inner rim, while the outer is marked by two or three incised lines.
This is a pink silk crepe kimono with wax-resist patterns, hand-painted design and metallic threads embroidery. The kimono is in full length and has elongated sleeves. The fabric is dyed with pink, leaving the family crest under the collar and the floral design part white. The red scale pattern is added using wax-resist technique. Then the design of multiple kinds of plants is hand-painted with white, red, yellow, and pale and blue green colors. There are mix of fall and winter flowers and trees: nandin on the left sleeve, plum, chrysanthemums, thistles, amaranths, camellias and narcissus on the front and back, makino (Chloranthus glaber, with red berries) and more camellias on the right sleeve. Embroidery is added in various metallic threads around the contours of flowers and leaves.
In this exuberant kimono, Minagawa Gekka took great advantage of the wide, flat surface of the kimono, effectively treating it as a canvas on which to depict flowers blooming in profusion. There are mix of fall flowers, winter flowers and trees: nandin on the left sleeve, plum, chrysanthemums, thistles, amaranths, camellias and narcissus on the front and back, makino (Chloranthus glaber, with red berries) and more camellias on the right sleeve. Due to the sheer profusion of auspicious winter flowers, it is possible that this kimono was commissioned for a New Year’s celebration.
This cup is fashioned from a coconut shell set in a shallow bowl supported on a long, narrow stem and held in place by three straps and a tall neck band. The shallow domed lid has a plain, overhanging rim and terminates in a finial with a statuette of a nude sea nymph and serpent. The metalwork is densely decorated with various masks, animals, fantastic creatures, and vegetal ornament.
This richly decorated cup combines precious metalwork with the shell of an exotic fruit, a coconut, to create a marvelous artwork that would have manifested the status of its owner. The embossed and engraved decoration of the metalwork teems with vegetal motifs, fish, deer, a horse, and fantastic creatures suggestive of the bounty of nature.
Single pink, flowering orchid with leaf on solid green background. Ink on paper, print.
These woodblock prints are from the series Rankafu (A Record of an Orchid Collection), which was commissioned by adamant orchid cultivator and enthusiast Kaga Shôtarô during the early 20th century. Kaga had fallen in love with orchids years before in 1917 while mountaineering in Java. Due to the economic hardships placed on Japan after losing the Second World War, Kaga was concerned about the survival of his orchid collection in Kyoto at his Villa Oyamazaki, which at its peak had housed 10,000 plants. Kaga selected woodblock printing as the appropriate method to capture the memory of his orchids. He enlisted the skilled painter Ikeda Zuigetsu, to execute this momentous task. Ikeda created the drawings from which the woodblocks were carved. Sadly, Zuigetsu passed away in 1944 before the completion of the project, and due to Kaga’s falling fortune after the war, only 83 works were printed. Kaga managed to publish three hundred copies, many of which were sent to various scientific institutions such as botanical gardens and universities all over the world. Recently a reprint of the original edition has been released in Japan.
Small-size covered box, the lotus bud handle and surrounding medallion in brown, the body and lid with alternating panels of vegetal scrolls and lattices. Each panel is separated by a raised line. The foot is painted brown. Clear glaze.
Covered boxes were used as burial objects to accompany the dead. This practice for the care of deceased people in afterlife preceded the succession of foreign religious influence from Buddhism, Hinduism to Islam. The stoneware trade ceramics were also objects of status and wealth, for the local kilns only produced less durable and inexpensive earthernwares. The round shape with a handle, and some of the design motifs were adopted from stone and metal reliquaries and architectural elements came with Indian Hinduism and Buddhism.
This is a square shaped print in tones of white, beige and brown. It shows a lacy floral pattern with white dots that resemble pearls.
This print is one of a body of works that Julia Jacquette created as a color study exploring white on white. In many works, including her paintings, she created cropped, close-up images of wedding items such as gowns and cakes. She was also interested in exploring the concepts of longing and desire in relation to wedding imagery.
The circular, smaller white porcelain plate has a design of gourds, flowers, vines and leaves around the rim. The gourds are outlined with blue underglaze and colored with yellow overglaze. Blue underglaze and transparent green overglaze are used for the leaves. The flowers and vines are drawn with red. The red enamel is worn off from some of the tendrils, a characteristic of 18th century Nabeshima. The reverse side has four clustered jewel or treasure motifs with four bows and streamers repeated three times. On the shallow foot, bold lines are drawn in a row like a comb. The design on the back is all drawn with blue underglaze. (Referencce: Becker, Sister Johanna. “A Group of Nabeshima Porcelain.")
The Nabeshima wares were used by the local governing family as part of their annual tribute to the Tokugawa overlords.
In this elegant but witty design, the rim of the plate is considered as a trills from which the gourds are hanging.
Overall wax-resist dyed pattern of crackled pale mauve on periwinkle ground, decorated with wax-resist dyed patterns of foral clusters in red, yellow, purple and white, and embroidery in gold, silver, and red metallic threads. White plain weave silk lining with wax-resist designs of fabric samples, predominantly red, blue, and gold. Silver and red red cords with tassles. Crest on the back of paired oak leaves (kashiwa) embroidered with gold couched threads and red and white bokashi silk thread.
The haori was originally part of a man’s formal attire, but in the nineteenth century, female entertainers in Edo (modern Tokyo) adopted it as a cloak for outdoor wear in mild weather.
By the end of the century, married women of the upper class adopted black crepe silk haori with family crests for formal, public occasions. For much of the twentieth century, the haori has been the standard outwear for a woman who dresses in a kimono outside of the home. The owner of the haori, Shizuko Iwata, was a pioneering female executive in mid-twentieth century Japan, running a successful real estate business. Just as modern business women by power suits to express their authority and wealth, so did Shizuko Iwata: she owned dozens of kimono, haori, and obi of the very finest quality, custom made for many different occasions, all in exquisite taste.