Tex: Will you have a part in victory? - Write to the National War Garden Commission - Washington, D.C. for free books on gardening, canning & drying. - "Every Garden a Munition Plant" - Charles Lathrop Pack, President
A geisha is shown strolling in the countryside, with her right hand over her forehead--as if looking into the distance--and a basket in her left hand. The backdrop is the rising sun-the give-away that this is a New Year’s print—seen over distant mountains. A poem lies on the left-hand side of the print.
In the final decade of the eighteenth century, there was a severe wave of government censorship against any publications—image or text—that could be construed as political satire or as detrimental to public morals. At first this crackdown had a devastating impact on print publishers and artists, who found themselves in manacles if they attempted to continue their staple products of erotica and pin-up prints of courtesans and actors. They soon rebounded, however, with new formats and new themes. One outlet for artistic genius was the surimono, the privately commissioned print that could avoid the censor’s eye. Usually issued as New Year’s greetings by members of a poetry club or clique, surimono are small in scale and richly decorated with the highest quality pigments, including metallic shades of silver, gold, and copper.
Katsushika Hokusai, who is best known in the West for his landscape prints of Mount Fuji, evokes here a quietly nostalgic scene of a geisha (itinerant musicians) strolling in the countryside. Her right hand rests over her forehead--as if looking into the distance--with a basket in her left hand. The backdrop is the rising sun-the give-away that this is a New Year’s print—seen over distant mountains. A poem lies on the left-hand side of the print.
Plaster sculpture depicting two men sitting on stools playing checkers using a barrel as a table with a woman holding a baby standing behind them.
Checkers up at the Farm, like many 19th-century works focuses on a domestic scene that highlights happier aspects of American life. It is a jovial genre-scene, which like many of John Rogers’ works tells a story and is infused with sentiment and a touch of humor. This piece depicts two men playing a game of checkers. The man on the right appears to be winning. John Rogers worked directly in clay from live models (often his wife, children and friends). He mass-produced affordable plaster copies of his most popular pieces, and his works soon became a parlor-necessity in Victorian America.
A woman is shown seated in a simple interior. She is holding carding combs and is seated next to a pile of uncarded wool on one side and skeins of yarn on the other. Behind her is the wheel of a spinning wheel.
This quiet humble interior with a woman carding wool shows Millet's affinities with Dutch 17th century genre scenes, many of which also feature peasants or working class people.