Three warriors march forward, taking up nearly the entire frame. Blue soldiers carring weapons and shields bring up the front and rear. They appear to move through a stylized tree landscape.
This scene likely depicts a moment in book six when the armies of the Pandavas and Kauravas meet prior to charging into a battle for the throne. The war, known as the Kurukshetra War, lasted eighteen days and at its end the Kaurava army had fallen and the Pandavas were free to reclaim their throne. Their victory, however, was incomplete as a member of the Kaurava army had snuck into their camp and killed the warriors and children he found there, leaving the Pandavas without an heir to the throne they had fought so hard to win.
This painting depicts a quiet rural scene. A river runs back into space from the foreground into the distance, flanked on either side by green trees along the banks. A twilight sky dominates with salmon and blue hues. Ducks or geese fly just above the trees at right.
Daubigny was a skilled "plein air" painter who created luminous and quiet views of the French countryside and showed regularly in the official juried Salon exhibitions in Paris. This rural river scene has the direct observation and freely applied paint typical of Barbizon paintings. Daubigny constructed a studio-boat from which he could paint views along the Seine and other waterways in France.
It is in the shape of a flat disk with octagonal sides, a type that was widely produced in the 19th century. The center of the top surface features a flower petal in a darkish cobalt blue pigment. A pale blue glaze applied over the entire surface, but has a slightly hue. The pigment used on the flower is also applied around the edgesof the octagon, more heavily so in the corners.
Water droppers were a necessary stationery items for scholars. They were produced in various shapes and sizes and featured a variety of decorative motifs in the late Joseon period. This particular dropper has a flower motif.
This vase takes the shape of a double gourd, with a large pear-shaped bottom topped by a smaller oval shape. The vase is decorated with overgalze enamels, primarily with an overall pattern of chrysanthemums. The design is also interspersed with plum blossoms, peonies, and auspicious birds.
This colorfully decorated gourd shape vase is an example of Imari ware, a type of porcelain made in the eighteenth and nineteenth centuries for export to Europe. Lavish and intricate designs were made possible by firing each piece three times at successively lower temperatures: once with the cobalt blue painting and a clear glaze, a second time to fix the overglaze enamels, and a third time to fix the gilding.
This scene has two trees and some logs jutting vertically out of the ground in the foreground, with some buildings and a figure walking in the background. The tree on the left in the foreground has a split trunk, and we can see some roots. The four logs are spaced fairly evenly in the center of the foreground, and the second tree is on the right in the foreground and leans to the right. Some leaves can be seen on the trees at the top of the scene. The ground in the background is white, and the figure walks in front of the buildings in the center right of the scene. The main and tallest roofline of the buildings is in the center of the background.
This woodblock print shows a person walking in the city of Nara, Japan.
This painting depicts a lush green countryside with an expanse of blue sky. It shows a hillside overlooking a small lake. There is a vista of fields and hills that extends beyond the lake to the horizon.
In the foreground, a woman wearing a long dress and a bonnet and carrying a walking stick and basket, walks toward the viewer along a dirt path. The path runs from a building on the far left toward the bottom of the painting. The vegetation is painted in sharp detail in dark tones of green and brown.
In the right half of the composition, there is a scene of a distant village and farms viewed through the trees on the edge of the hillside. In contrast to the shadowy wooded area, the view is bathed in bright sunlight. There is a lone bird in flight in the light blue sky that fills the top half of the painting.
In 1849 Herman Herzog entered the Dusseldorf Art Academy and studied with Achenbach and Schirme, two painters who were known for their literal and precise style of landscape painting. This work illustrates his training in the academic tradition of landscape painting. It has a balanced composition with foreground, middleground, background and atmospheric perspective to create the illusion of spatial depth. Tree formations and sunlight direct the viewer's eye back through the painting to the faraway village scene. Herzog's realism is especially evident in the foreground scene where the pathway and foliage are painted in exact detail. Although the actual locale is not identified, this scene is reminiscent of the Hudson River School style of painting with which Herzog is also identified.
A medium size, shallow bowl with a semi-circular cut out on the rim. The bowl has flat surface on the rim and is concaved in the middle like a soup bowl. It has two holes on the opposite side of the cut out and a short foot. There is a blue band around the rim. There are two long-tailed birds in red, pale orange and yellow, perched on a blue pine tree which grows underneath the birds. Behind the pine tree trunk, there is a cherry tree in full blossom, its brunches extends in circle around the rim. The cherry tree and blossoms are in red, pale orange and yellow. More cherry flowers adorn the background of the birds. There are also red peonies on the left side of the pine tree; peony flowers also appear as spray on the four sides of the rim, backed by blue cloud design.
Combination of birds and flowers is popular motif called “bird-and-flower” painting in East Asian cultures. The two birds and cherry blossoms suggest that this is a spring scene. The cut out is where a person places his neck, and the two holes opposite the neck recess are used to string the cord around the neck during shaving. Pewter and silver shaving basins were common toilet articles in mid 17th century Europe and were ordered by the Dutch East India Company as early as 1662. (Reference: Imari: Japanese Porcelain for European Palaces from the Freda and Ralph Lupin Collection)