If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Sawamura Sôjûrô III was one of the leading actors on the Kabuki stage in the last decades of the eighteenth century. All contemporary artists portray him with an immediately recognizable physiognomy, with a nearly round 3/4 profile and small eyes.
This print by Katsukawa Shun'ei, a member of a family of artists that specialized in actor prints, draws inspiration from the famous actor series by Sharaku of 1794-95, in which the backgrounds were of mica. Here, a pale silver is used to mimic that more expensive effet. The actor is shown in simple but very tasteful formal dress for a samural. His outer robes, known in Japanese as 'kamishimo,' would originally have been blue, but the blue has faded to a deep tan color.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
An assistant in the studio of Rembrandt, Bol set up on his own in about 1637, and became a successful painter in Amesterdam, specializing at first in portraits. Between 1642 and 1651 he created about sixteen etchings in his old master's style. Like Rembrandt's portraits, this picture of an unknown woman has the vivacity of a figure directly observed, rather than stiffly posed.
Inscription
Signed and dated on plate at top of oval: F. Bol F. 1644
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This complex work was produced to explore different aspects of a composition on a single piece of paper. Notice the three separate sketches of the monk; one is drawn in graphite in the center and two on either side are done in ink. Also notice the numerous putti and table sketches, some in graphite, some in ink. By comparing these elements, it is possible to see the process the artist underwent and to trace the progress of his ideas. The graphite underdrawings beneath the pen cause movement and add life to the sketch. This vitality is heightened by his rapid strokes of the brush. Bison was the last figural artist to practice the rapidity characteristic of the Venetian pictorial style.
Label text done by student Sara L. Johnson in conjunction with the History of Art seminar 613, "Venetian Art at the University of Michigan", November 27, 1996.
Inscription
Collector's stamp lower left corner - ornate G and L intertwined - Luigi Grassi, Florence (Lugt Suppl 1171b) Stamped number "282" "Magnasco" - lower left
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
One of the most important and prolific portrait draftsmen of seventeenth-century Holland, Lievens is well known for work in black chalk and etching. In this print portraying the Leiden professor Daniel Heinsius (1580-1655) the artist paid close attention to contrasts of texture, as in the fur trim of the sitter's mantle and the velvet of his sleeves. In these areas the artist employed engraving. In engraving, the design is incised on a metal plate using a sharp instrument called a graver, or burin. As the burin cuts furrows in to the metal, it throws up small shavings, known as burr. This is removed with a burnisher before the plate is inked and the design printed.
Inscription
Signed on plate: Ioannes Lòuòus pinxit et fecit Collector's stamps: Lugt 971 and 700a Watermark: crown over fleur-de-lis in shield Heawood #1664
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
In lower margin, in plate, l.l.: Painted by Maria Cosway; l.c.: MRS. COSWAY. / Published by V. and R. Green, Newman Street, Oxford Street, London. Sepr. 1st; 1787; l.r.: Engraved by V. Green, Mezzotinto Engraver to his Majesty, and to the Elector Palatine. On back, two stamps: Lugt 877a, and circular stamp with DOUANE / Exportation / PARIS / CENTRAL
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Inscribed in ink on ceiling: Laterali, e Soffitto di Sala Terena Verso: N: 2: Giuseppe Valerianj R[oubles] 12 Watermark: I V (probably I. Villedary, Dutch, 18th century)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The sitter Jan Torrentius (1589-1644) was a painter in Amsterdam. He was known for his still lifes and obscene subject matter. In 1627, the year before this portrait was made, Torrentius was arrested, tried in court, and tortured for being the alleged head of the Rosicrucian sect in Holland. Condemned to death by burning, he was instead sentenced to twenty years in prison. He was freed in 1630 by the intervention of the English ambassador, who brought Torrentius to London. Upon his return to Amsterdam, Torrentius was again tried and this time died from the effects of torture.
Inscription
Watermark: crown with fleur de lis On back: Wurzbach 40 II of ii/ V den K 40
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Monogrammed, r.c.: D G R (circular monogram) Inscribed, near top: It isn't a bit like but beastly.. I only send it supposing you shouldn't wish it to go into/ the fire, but if you do, put it there. Some day I'll do a better, says your DGR. Stamp on mat: emblem with a horse
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Palma's sketch of a male nude appears to be influenced by Michelangelo, whose art he studied in Rome. The extreme musculature of Michelangelo's style is heightened here by Palma, whose varying use of line is especially noticeable in the rippling torso. The figure's elongation is emphasized by the very narrow strip of paper on which it is sketched. This format suggests that the drawing was created as an autonomous work of art. Palma's many drawings were eagerly collected by artists and connoisseurs even in his own lifetime.
Label text done by student Sara L. Johnson in conjunction with the History of Art seminar 613, "Venetian Art at the University of Michigan", November 27, 1996.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
All inscriptions in pencil. Verso: u.r. margin corner: 40 Lower margin, just beneath the plate mark, from left to right: Peint par L. Tocqué Abel Fr Poisson, Marq. de Marigny Gravé par [faded: J.G. Wille] l.l. margin corner, faded illegible writing: [115? or 215?] l.r. margin corner, faded illegible writing: [S56?] l.c. margin, between two corner inscriptions (faded): Pour sa reception a l'Académie, 1761 Above the l.r. margin faded attribution to the engraver, illegible diagonal writing: (PRJ?) Recto: u.r. corner, faded: (N15-G?) / 112 l.l.: L. Tocqué l.r.: J.G. Wille / Abel Francois Poisson / Marquis de Marigny l.l. corner: 40 40770 (encircled) / [illegible] l.r. corner: Z (erased) / CX / 1968/2.40 2-12 [illegible]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
