The painting depicts a group of American settlers attempting to defend themselves against attack by a band of Native Americans. A covered wagon pulled by two horses is at the center of the composition; at left, two Native Americans attack the wagon with war clubs and tomahawks; a figure on the lead horse points a pistol directly at the head of one of his attackers, while a figure at the rear of the wagon shoots another attacker. At right other warriors on horseback ride past the train shooting arrows and wielding tomahawks.
“The Attack on an Emigrant Train” was inspired by the writing of Gabriel Ferry, a contemporary French chronicler of the Gold Rush, and depicts a caravan of American pioneer gold-diggers crossing a prairie, defending themselves against attack by a band of Native Americans. Wimar portrays the Native American as a foe who symbolized hostility and was an obstruction in the path of American progress and territorial expansion.
Black and white gelatin silver print capturing a man and woman embracing surrounded by pedestrians and below a movie theater marquee bearing the words "Kiss me, stupid."
From Meyerowitz's earliest works reflecting the influence of photographers Robert Frank and Garry Winogrand in the tradition of black and white street photography. The work captures a couple's embrace on New Year's Eve beneath a theater marquee and reflect's Meyerowitz's interest in the spontaneous and human elements of street photography subjects.
A young woman at the left stands at the threshold of a stone doorway; in the interior beyond her, a woman in a white cap is preparing a jar at a desk or counter. Above the desk is a row of jars on a shelf.
"La Marchande de Moutarde" is an early example of Whistler's interest in showing views through the frames of doorways. Here the sense of depth from the threshold to the woman inside the room is minimized (especially compared with "The Kitchen") in favor of intense patterning of all the surfaces--an approach that tends to flatten space. The composition is based on two drawings executed in Cologne, Germany during the walking tour Whistler took w/ Delannoy.
A full-body costume and mask depicting a human figure.
This costume and mask depcits bwoom, a character from the trio of royal Kuba masks. Bwoom represents a number of impediments to the Kuba founding king: the king's younger brother, commoners, or a magical trickster/pygmy. Bwoom represents the autochthonous, pre-dynastic political powers that the king overcomes.
Text: State Council of Defense - (banner in eagle's mouth) State Sovereignty National Union - Cooperating with - The College of Agriculture, University of Illinois. The United States Department of Agriculture. The State Department of Agriculture - Illinois Seed Corn Administration - Advisory Committee - E.D. Funk, Chairman, Bloomington, Ill. H.J. Sconce, Sidell, Ill. John M. Crebs, Carmi, I--. Frank J. Frather, Williamsville, Ill. Chas. Adkins, Springfield, Ill. W.F. Handschin, University of Ill. - Seed Corn Administrator - WM. G. Eckhardt, 120 West Adams Street, Chicago, Ill. - "Son! Do You Know That Your Seed Corn Will Grow?" - Get Your Seed Corn Now - The seed corn situation is the worst in the history of the State. If wheat or oats fail, we can plant corn and grown a paying crop. When corn planting time comes you must have good seed, or fail. Hundreds of farmers have put away corn not a kernel of which will grow. Damp weather in October; immature corn; and early hard freezing has killed it. Test your seed corn. Know it will grow. Help yourself and help each other. Prepare the seed bed well. Don't plant corn too deep. Help yourself--don't depend upon others. - Corn Is Illinois' Greatest Crop - No greater mistake can be made by the farmers of the Corn Belt than to reduce materially the area in corn. The system of farming and the crops that you have proven good and most profitable for the past twenty years are those that should be followed and grown this year. If you are in need of seed corn, or if you have a surplus that might be used to help someone else, consult___________ - Prices For Corn - (price list) - Corn germinating 70-79% will be used only as a last resort, except in case of exceptionally desirable corn.
Two men smoking long-stem pipes are seen sitting on a balcony. Behind them are visible the masts of ships along the bank, and further behind them in the distance a river sweeps towards the left. Buildings crowd the shore and boats are shown moored or in the river.
Whistler spent several months in the commercial districts of London during 1859 and his etchings of the warehouses, docks, and people of Battersea and, in this instance Wapping, became the foundation of the Thames Set etchings, published in 1871. Densely clustered lines and careful observation characterize these views along the Thames. Charles Baudelaire celebrated the modernity of these views of London when a group of them were shown in Paris in 1862, describing them as “subtle and lively as improvisation and inspiration,” expressing with their “wonderful tangles of rigging, yardarms and rope; farragos of fog, furnaces and corkscrews of smoke; the profound and intricate poetry of a vast capital.”
A scattering of figures, mostly women and young chidren, occupy the foreground and middle ground of the image. In the distance are several sculptures and urns framed by a curving balustrade with trees and some buildings behind.
The Luxembourg Gardens were an easy walk for Whistler and here he depicts the activities of children with their nannies or mothers on the terrace that surrounds the basins in the center of this Parisian park.
Whistler employs the untouched portions of paper to represent the gravel walks on which the figures are arranged, recalling the flat passages of color that he admired in Japanese woodblock prints.
color photograph with comic-strip-style illustrations in black acrylic on white paper, mounted and framed
The comic strip comments on the sky-high prices of the art market, the deep pockets needed to enter into that market, and the exclusive, insider nature of art collecting. This is juxtaposed against a photograph that “represents at least one person who never looks back” at a homeless man you’ve passed on the street.