This drawing represents seven nude men in a landscape with buildings indicated on a hill in the distance. One of the figures, represented full-length and in profile, is bound to a tree or stake on the left. All of the other men appear in half-length in the right part of the drawing. A bearded man sits and gestures in the direction of the bound man. Five other men appear around the seated figure, one of whom carries two long objects over his shoulder toward the man on the left.
Although the exact subject of this scene remains unidentified, it clearly represents a martyrdom of a saint or the punishment of a criminal. The execution of the man who is bound on the left appears to be ordered by the seated figure on the right, who points toward him. The artist, Vincenzo Tamagni, worked in Raphael's workshop in Rome and received his own commissions in and around his hometown of San Gimignano. The drawing has not been linked to any of Tamagni's extant paintings or frescos, but the representation of the figures in the nude and the lack of details indicate that the drawing was a rough preparatory study for a larger finished work.
A scene of geese in pond and on sandbars. The geese are congregated in the lower left hand side of the painting, as are most of the reeds growing from the sand bars. Some geese can also be seen flying in the middle of the painting, though they are not as prominent. Five lines of calligraphy are lcoated in the upper right of the painting.
The colophon is a poem by Wang Baigu. The scene is a description of the poem, which visualized the poem and at the same time makes the painting poetic. The poem describes a group of geese lingering in the reeds. Geese were a common metaphor for homesickness in Chinese art and literature. Chang must have been familiar with the feeling of homesickness, which suffuses this twilight scene of water, sandbars, and birds.
The Rooster is singled out by its expressive outlining brushwork and the vibrant red color of the comb. Its decorative flavor is also enhanced by using a specific type of paper called “cloud-dragon paper” (yunlong zhi), as the pattern of décor resembles motifs of cloud and dragon. Vertical calligraphic text in in the upper left corner.
This work is reminiscent of the Shanghai school both in its subject and style. Shanghai school painting, which was patronized largely by merchants, often had a strongly decorative character, combining broad calligraphic brushstrokes in ink and vivid colors. Lone Rooster has notably expressive outlining and is enlivened by areas of vibrant red. Its decorative character is enhanced by the use of “cloud-dragon paper” (yunlong zhi), the pattern of which resembles clouds and dragons. The rooster, which belonged to the traditional genre of bird-and-flower paintings popular in the Shanghai school, may have been chosen as a subject to commemorate the Chinese year of the rooster.
A man and woman under a tree while the woman plays a type of zither. Nearby are trees in bloom with pink flowers. Writing is located in the upper left corner of the painting.
Portrait of artist's elder son Cheng-yang and daughter-in-law Shirley to celebrate their twentieth anniversary of marriage. In the painting, Shirley is playing a kind of zither and her husband standing beside in a caring and appreciative manner.
Landscape colored with the bright hues of autumn. Pavilions are nestled among clouds and mountain forests. A rustic staircase appears between wisps of clouds and trees, winding up the slope next to waterfalls.
Chang Ku-Nien painted this scene about a year after he moved from Taiwan to Flint, Michigan. The inscription indicates it was a gift for his son and daughter. In the United States Chang seems to have been liberated from the idioms of traditional Chinese painting and his brushwork became more spontaneous, open and fluid. In this painting, he combines both old and new techniques. A figure with a staff walking towards the misty landscape evokes a recluse, an important subject in the centuries-long Chinese literati (amateur scholar-artist) tradition in which Chang was trained. The mountains in the upper left corner and on the middle right side are painted in the “boneless” style, that is, without obvious outlines—a practice that may be traced back to late Ming dynasty [dates] painting. Chang’s use of color, however, is quite modern. Here a brilliant sapphire that he began to use in the 1970s gives the mountains and pine trees a palpable sense of chilliness.
This is an ink drawing in shades of black and brown. In the center there is a figure of a seated nude woman with her back to the viewer. The top of her head is a swirl of dark black lines. In the upper right corner is a three-masted sailing ship.
This drawing was created during Driscoll's work on a multi-year project called, "Ahab's Wife", a performance piece inspired by "Moby Dick" and performed in1968 at the Henson International Festival of Puppet Theater. This collaborative project combined, movement, poetry and visual arts to explore the persona of Ahab's unnamed wife. This work was also included in the UMMA exhibition, "Ellen Driscoll: Ahab's Wife, Working Drawings and Model", February 1, 1997 - March 16, 1997.
A scholar sits under a thatched hut in the mountains. He strokes his long beard as a kettle warms. The colophon indicated that the scholar the the famous Song dynasty recluse Lin Bu. In his thatch hut in the Solitary Mountain, he is composing a poem in light smoke from the faint fireplace.
In this large scroll Gao depicts a duck swimming among aquatic plants in the shade of a cluster of lotus.
Gao Qipei was an accomplished painter with an unusual technique: instead of using a brush, he painted with his fingertips, nails, palms, and the backs of his hands. The lively execution, harmonious washes, and untrammeled, variegated effects—impossible to achieve with a brush—demonstrate Gao’s consummate skill in finger painting.
Inscribed in pencil, verso bottom: Gaudier-Brzeska "Pengiuns"/Ex Zwemmer 1931. Ex Major Haldane MacFall./ Part of #140 College Art Ex. 1931-2 Inscribed in pencil, verso, l.r.: G.136 Collector's stamp (not in Lugt), verso, l.l:D.F.P.