A partial view of a butcher's shop is seen frontally from across the road. To the left is an arched doorway within a pedimented entryway; a woman holding a baby stands silhouetted against the doorway while a little girl sits on the stoop. To the right is an arched shopfront that comprises both the doorway and the window in which hangs two large cuts of meat. The window of the shop is partially screened by an awning the extends before the facade of the building. A dog is seen sitting in front of the shop window.
During the 1880s Whistler focused on depicting shop fronts in Chelsea and elsewhere in London; this view of a shop on Cleveland Street (as identified by Thomas Way) is a continuation of this interest.
A sweeping panorama of a city is visible from an elevated vantage point. Bridges cross a river and boats are evident. The river occupies the right side of the composition and the curving near bank of the river dominates the left side of the work. The cityscape includes many buildings, culimnating in one large dome in the distance. There is evidence that a window ledge exists along the bottom of the image and in the distance there are blustery clouds, indicating a leaden wintery sky.
Drawn from the windows of the newly opened Savoy Hotel in London, this panorama long the north bank of the Thames shows Waterloo Bridge and the Victoria Embankment; in the distance are the dome of St. Paul's and other of London's bridges and buildings. Whistler and his wife lived in rooms on the top floor of the Savoy during Beatrix's final months before her death.
A French town, with houses along a canal or river in the foreground extends in the distance showing rooflines and towers under a blustery sky.
During the 1893, the Whistlers made several trips to Brittany and the Low Countries. This transfer lithograph is an early example during which the artist incorported stump in his lithographs. The town of Vitré is shown from a high vantage point and is one of a group of architectural views he executed during this trip to Brittany.
Inscription of artist in the left edge: Painted in the first year of the T'ien-ch'i reign (1621), autumn, seventh month, sixteenth day, at Sheng-hu t'ien-she. Sheng Mao-yeh. (T'ien-ch'i yüan-nien ch'iu chi-yüeh chi-wang hsieh yü sheng-hu t'ien-she). Seal of artist: Mao-lin hsiu-chu jen-chia, Fang-wai-she, Nien-an chü-shih, Fang-ch'ing ch'iu-ho, Mao-yeh chih-yin, Yü-hua fu. Additional inscriptions and seals: Box label: Nien-an Sheng Mao-yeh hsiu-ch'i chüan, Sheng Mao-yeh pi Lan-t'ing ch'ü-shui mi-hua chüan. Seals: (unidentified) T'ai (?)-chou pi-ts'ang.
Handscroll depicting figures (42 men and 6 boys) in a landscape, most of whom are sitting along the banks of a stream as cups on lotus leaves float by. A small cluster of figures sits in a shelter over the water examining a handscroll. The painting includes an inscription, six artist’s seals and one collector’s seal.
This elegant handscroll brings to life a famous historical event, a literary gathering of forty-one scholars celebrating the annual Spring Purification Festival at the Orchid Pavilion in the city of Shaoxing, Zhejiang province. Held on the third day of the third month in the year 353, on this special occasion literati enjoyed a ritual drinking game which incorporated composing poetry. Cups of wine, resting on large leaves, were floated down a stream and if a scholar could not recite a suitable poem, he had to drink a cup of wine. The celebration grew ever merrier as retrieving wine cups became more precarious.
What made this particular gathering so memorable was the presence of the great calligrapher Wang Xizhi (303–361). Inside the pavilion Wang is seated at a table writing his preface to the collected poems of this gathering. His preface, which vividly describes the event and laments the rapid passage of time, is a classic of Chinese literature and calligraphy.
Panel painting depicting a young woman of high society in an interior setting filled with Asian accessories. She stands behind a door, which she holds partly open revealing a small white dog sitting in front of an armchair.
The setting for “Cache-cache” is Stevens’ own Parisian house on the Rue de Martyrs. X-ray examination revealed that he first painted a young girl standing in the doorway, with whom the game of hide and seek is being played. She was subsequently painted over and a dog was painted in her stead, which enabled Stevens to concentrate on the perspective into the room beyond, the glove on the floor (indicating the haste with which the lady has entered the room), and it diminishes the potential human interest of the scene allowing the viewer to focus more fully on the beautiful rendering of objects and surfaces. The real subject of this painting therefore, is Stevens’ study of decorative objects and costumes and the play of light on their various surfaces, textures, and colors.
This painting shows the interior of a rustic house with a stone floor and rough rock walls. In the center foreground, a woman is crouched beside a wooden cradle. She has her arms around a sleeping baby whose face is highlighted by a ray of sunshine coming from an open window. Household items hang from the rafters and there is a spinning wheel beside her. A dog sits by an open hearth on the left. The color scheme is predominantly tones of brown, except for her red scarf, green shirt and the bluish purple of the hills seen outside the window.
This is a genre painting which shows the interior of a Scottish farmhouse in the mid-19th century. It is a realistic portrayal of farm life showing the rustic conditions of this home. The room has a stone floor with rough stone and plank walls. Many household items are painted in detail, including a spinning wheel, a wooden chair and a wooden cradle. The sheep dog is resting by the hearth.Yet John Phillip has also included a sentimental element. A mother attending to her infant is the central focus of the composition. This gentle moment of motherhood is highlighted by a ray of sunshine that streams from the open window to illuminate the sleeping baby's face. Other details such as the books, flowers and hourglass on the window sill further relate his portrayal of the humble but noble life of a Scottish Highlander.
Painting of landscape scene with blue sky and green field. Mountains and three houses in background in the upper-left quadrant. Grove with orange trees in center. Two men fishing along the banks of a stream in the lower right foreground.
In this painting, David Courlander, a noted self-taught Primitive artist, depicts a rural outdoor scene comprised of an orange grove with houses and mountains in the distance, and two men at leisure fishing along the banks of a stream in the foreground; rendered in an unrefined color palette in mainly greens, blues, reds, and white.
Print featuring a stage with a figure of a man with his feet touching his head while doing a handstand on a small table flanked by two chairs. His large shadow is cast on the wall behind him. The head and hands of a conductor are visible in the lower right.
Along with fellow members of The Bridge Ernst Ludwig Kirchner and Karl Schmidt-Rottluff, Erich Heckel often turned to images of the circus and cabaret as illustrations of working class, non-bourgeoisie society. Following his two years spent in the lakeside focusing upon nudes at rest and in harmony with nature, Heckel’s artistic focus turned to these theatrical images.
Handstand focuses upon a solitary acrobatic performer on stage. The contorted figure is dwarfed by its monstrous shadow cast upon the stage wall. The head of a conductor leading a brass band is visible in the foreground suggesting that the acrobat is performing before an audience. Along either side of the stage we glimpse columns composed of primitive masks – visual allusions to the Expressionists interest in art of Oceania and the Americas.
Standing bronze figure with recto/verso. The silhouette of the body is rectangular in shape. The heads on both side are simply rendered with rounded eyes and a pursed -lip mouth on one, a button nose on the other; bodies are supported by short legs; sides loosely suggest representations of male and female anatomy with side-by-side scallop shells suggesting a breasted chest on one side, an upward facing frog/toad in the phallus area on the reverse side.
This figurine with its primitivist style and use of animal iconography suggests a ritual totemic figure. One side represents man. The other side represents woman. Title references the Roman god Janus the god of doorways, and thus of beginnings and endings, or of the point in time between past and future. Janus was depicted as having two faces, so he could look simultaneously forward and backward
A large central figure represents God towers seen in the radiating rays of light and clouds that surround him.. On the forehead of his blocky, totemic head is a third eye. His left arm crosses over his middle and holds fire. His right hand extends down to the lower right corner as reaching down. The words "Vater Unser" are at the very top; "Der Du Bist" across God's waistline; "im Himmel" along the bottom.
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.
This sheet of the portffolio depicts God in his radiant power and glory.