Terracotta fragment carved on one side with an intricate patters of lines. There is a small hole on the bottom of the patterned side of the piece that does not go all the way through to the undecorated side.
signed lower right in pencil. embossed signature on lower left and circular embossed stamp in center "Archival Print Don Worth", artist negative number in pencil and print dates on back in pencil 4-C-427 1958/2005 / Plate 10
27.62 cm x 35.24 cm (10 7/8 in. x 13 7/8 in.)
An overlay of oval shaped leaves taking over the entire image. Light grey hues.
11.43 cm x 26.35 cm x 29.85 cm (4 1/2 in. x 10 3/8 in. x 11 3/4 in.)
A corn husk woven basket with wooden shaping dowels. One side of the rectangle is flat while the other end is curved. There are two blue stripes on the inside floor of the basket and green and purple designs on the outside.
A rectangluarly shaped woven basket with rounded edged. The bottom half and the lid of the basket are trimmed with strips of pine. The two pieces are of two slightly different sizes, making the lid fit into the bottom piece.
This black and white stereoscopic image features two images of an African American girl and man standing near a small log and plank building within a wooded area. The man is holding an implement against a grinding stone.
It is surrounded by the text: Sample Set No. 1; Plantation Scene.
This study depicts a rectangular chapel with the side walls bent outward at an angle in order to provide a clearer view of the decoration. The chapel design centers upon a sarcophagus placed beneath a painted altarpiece of the Virgin and Child, which are both set within a semicircular architectural projection that extends dynamically from the wall. On the left the pair of angels that support a large oval-shaped painting reach vigorously outward, their wings overlapping the pilasters. On the right appears another sarcophagus surmounted by a pair of putti. Leaning out from the oval niche above the sarcophagus is a female half-figure—probably a portrait of the deceased—making a gesture of devotion toward the altar.
This study for a chapel in Vienna reveals how Pozzo could orchestrate architecture, sculpture, and painting into a seamless decorative program that could transform an interior space into a dramatic religious spectacle. The compelling power of the visual spectacle derives from his ability to blur the boundary between the artwork and the viewer’s space.
Six figures appear in a formal garden landscape. On the right a pair of men in powdered wigs stand behind two women, one seated in a wheelchair, before an elaborate portico. A pair of boys, also sporting wigs, stand on the left, partly screened by a fountain. One of the boys holds a shell and the other carries a parrot. A small pool extends through the middle ground behind the figures and draws attention to the setting and the distant obelisk visible above the trees.
This group portrait, which exemplifies the genre of painting known as the "conversation piece," depicts members of the family of Walter Edwards of London in their garden. Walter stands in the center of the group behind his wife Mary, daughter of Richard Freeman of Batsford, Gloucestershire. William, Walter's brother, stands to the right behind an older woman in a wheeled chair, possibly their mother. Walter's sons stand on the left apart from the adults and hold a shell and parrot, objects that evoke the preoccupations of children. Great care was taken in this painting to capture the likenesses of the sitters and their relationship, as well as to convey their status and refinement through the meticulous rendition of their property and dress.
Glazed stoneware tan colored plate with dark brown oval swirl designs going around the outside edge. Center of plate is outlined in same dark brown color. Outside rim of plate is also dark brown. Resembles a "horse-eye" pattern.
This is a square painting with skinny vertical lines of purple on a background of orange. There are two square forms in the center, each wth a diagonal line from the lower left to upper right corners. One square is created by a pinkish, purple line and the the other is created by a reddish orange line.
This abstract painting is an example of Op Art where the artist uses a repetition of geometric shapes and contrasting colors to create visual effects such as foreground-background confusion and ambiguous depth perception. Julian Stanczak was a student of Josef Albers, a painter who studied the perceptual qualities of color and the visual effects when various colors are combined.