Dated, inscribed and signed, l.r.: 1873/ Pompeii/ E. Viollet el Duc Inscribed on center of old mount (destroyed during restoration): pl. 168 (sic)/ Pompeii.Maison; regio VII.Insula XII. no. 28/ Impluvium
An ink drawing in shades of gray with very exact detailing of objects and architectural elements in the scene. It shows the interior of a Roman house with sunlight streaming into an open courtyard with a fountain. The stone fountain has a square basin supported by a pedestal and a standing nude sculpture above it. One wall of the courtyard is decorated with floral designs and two figural scenes. A small bush is growing in a dirt area of the floor and there are two large vessels against the wall. Two figures are standing in a colonnade to the left of the courtyard. One is a woman dressed in a toga who is looking at a man dressed in a short sleeved tunic. The decorations of the floor, walls and ceiling depict ancient classical designs such as ascanthus leaves, meander and scroll patterns and the roof tiles have floral plume decorations and lion's head spouts.
The drawing is an artist's rendering of the interior of a house (domus) in the ancient city of Pompeii. Here, the artist is imagining what the inside of a Pompeiian house might have looked like during ancient Roman times. It shows the open-air courtyard which allowed sunlight and fresh air into the house. This scene shows an "impluvium" style courtyard where the rain water run off from the roof was collected in channels on the floor.
In plate, l.c.: Le Concert / A Madame La Comtesse de Saint Brisson; and l.r.: Par son très humble et très obéissant / Serviteur Duclos In plate, in lower margin, l.l.: Dessiné par Aug. de St. Aubin. Graveur du Roi; abd l.c.: A Paris chés Chereau Graveur rue St. Jacques près les Mathurins / Avec Privilége du Roi; and, l.r.: Gravé par A.J. Duclos Collector's stamp, l.r. recto, and on back:
A man, a woman, and a child facing the viewer with their hands folded in prayer. The man and woman sit on a mattress and look to heaven. The child stands in front of them with his head bowed. Next to the child is a diminutive cow. In the background behind the family are images of fish and birds.
Pechstein's "The Lord's Prayer" series of woodcuts mixes the text of the prayer with images of human wretchedness and spiritual need that draw on the Christian tradition to comment directly on the suffering and despair experienced by many Germans in the aftermath of the First World War and the economic crisis that followed.
In this sheet of the portfolio, a man, woman, and child face the viewer with hands folded in prayer and faces cast upward.
Photograph with deep blue tint of a nude man, with his back to viewer, sitting on a porch railing, looking out into into the night. On the viewer's right, along the front of the porch, there is abundant vegetation.
Seeing the natural and everyday as supernatural, spiritual, and special. Dugdale's use of antique photographic techniques gives his work a timeless that speaks to issues of memory, togetherness, and loss. That aura of mortality hangs over this tender image of love and anticipation of togetherness.
Signed in graphite, l.l.: butterfly monogram Signed in stone, on tablecloth in image: butterfly monogram Verso, inscribed in graphite, LL corner: "a 23958"; LL: "APG 13354"; LR corner: "# 654/ a u" Unidentified watermark (see file for sketch).
Figures are seen seated out of doors around a table in a garden. The table is set with a tea and coffee service and cups and saucers; behind the figures is a screen of trees.
This intimate gathering is set in the garden of Whistler's house in Cheyne Walk. Drawn most likely in June of 1891, the scene depicts the following people: Mrs. Brandon Thomas, Walter Sickert (standing), Sidney Starr, Brandon Thomas, Beatrix Whistler, Ethel Birnie Philip.
This painting, done in thick brushstrokes, shows a group of women gathered on the grass in a wooded area. There are six figures, four seated and two standing, and they fill the foreground of the composition. They are grouped in a semi-circle, however, there is no communication or eye contact between the figures. The women are wearing traditional Breton costumes with brightly colored aprons, caps and sashes. They have bright white collars and caps with purple, burgundy and green ribbons.
Charles Cottet was known for painting scenes representing life in the Brittany area of France. This painting shows a group of women, dressed in traditional Breton costume, who are to participate in a "pardon", an annual religious procession. The Brittany pardon was a popular subject matter for artists during the last half of the nineteenth century because it allowed a portrayal of the folklore and customs of that region of France, an area of interest for Realist and Symbolist painters. Here, Cottel does not show the procession itself, but a small group of women gathered in a lush green field. They wear the traditional costumes of the town of Plougastel with purple and burgundy skirts, green blouses and multi-colored aprons. The women have bright white collars and caps with purple, burgundy and green ribbons. The two girls wear colorful caps over their unbound hair and have decorated vests.