30.8 cm x 40 cm x 1.7 cm (12 1/8 in. x 15 3/4 in. x 11/16 in.)
View of an interior of an inn, with tatami-matted rooms and sliding doors. The rooms have doors open. Men and women wearing yukata are resting in one of the rooms. The other room seems to be a public bathroom, with one man taking a bath in the deep soaking tubs, and the other sitting on the stool to put on his clothes.
Covered jar of celadon glaze, body decorated with peony scroll, with base decorated with lotus petals. The circular contours of a peony scroll have been slightly compressed to complement the squat belly of the jar.
Peonies are associated with wealth, imperial splendor, and the erotic appeal of a beautiful woman. In this small but exquisite example of Longquan ware, the circular contours of a peony scroll have been slightly compressed to complement the squat belly of the jar. The Longquan kiln Zhejiang Province emerged as the primary center of celadon ceramics in second quarter of the thirteenth century, when the Song court established its southern capital at nearby Hangzhou. It reached its peak of production during the first quarter of the fourteenth century, when this jar is made, and were exported to markets in East and Southeast Asia, as well as the Middle East.
This painting depicts a glass vase with roses, phlox, and other flowers standing on a table. One pink rose lies next to the vase on the table; the background is an undifferentiated background of brown/tan.
Although Fantin-Latour exhibited with the Impressionists, his work is not truly Impressionist in style, but grounded in study of the Old Masters and work in the studio. His still lifes have an almost palpable atmosphere and sense of light. Here, the brilliantly lit flowers stand out against the background, giving them great definition and mass. The classical balance and grandeur of the composition, beauty of coloration, and details of observation elevate Fantin-Latour's still life paintings beyond the ordinary.
Landscape painting depicting trees with a solitary deer in the center of the canvas
Blakelock eschewed a literal transcription of nature, preferring to paint evocative and emotional paintings of illuminated moments in nature, of moonlit landscapes depicting the wilderness and solitude. “Deer in a Deep Woods” includes a solitary figure of deer absorbed into the setting rather than being the focus of the painting, and is imbued with a melancholy drawn from Blakelock’s deeply felt response to nature.
Several travellers are walking along the river. There are trees on both sides of the road. A big round moon is above the village houses in the distance. One the other side of the river is a lush forest.
signed and inscribed "Hayes" lower right hand margin
25.4 cm x 20.32 cm (10 in. x 8 in.)
A dark and stormy scene full of fog. There is a dark silhouette of a tree on top of a hill in the lower right hand side of the image, while the other mountains in the background are faded. The moon is lighting the sky and coming through the clouds and fog.
This painting (and the one adjacent) comes from an album of four landscape paintings.
It was made in the last decade of the scholar-official Huang Yue’s life, when the Qing dynasty was in decline and government corruption rampant. The two trees growing from oddly shaped rocks allude to historical Chinese paintings depicting twin pines. This tree was often a metaphor for a man of integrity, and a pine damaged by frost and wind suggested his suffering from political oppression. Between the rocks are clusters of thin bamboo leaves that seem to grow without a proper trunk. Since bamboo often represents a gentleman of rectitude, the painting may express the struggle of righteous scholar-officials during the late Qing dynasty.
Painting of a woman holding two sleeping nude babies, wearing white fabric draped over her head and shoulders with abundant blue-green fabric wrapped and loosely gathered around the rest of her body standing in front of a lush background with areas of blue sky peaking through the foliage.
Charity was a popular theme for many 19th-century artists and a subject, which Bouguereau revisited throughout his career. He studied the work of Renaissance masters and was greatly influenced by Classical and early Italian Renaissance art, drawing much of his subject matter from mythological, classical and biblical stories. In “Charity” the carefully arranged poses, highly finished surface, restrained yet rich palette, and dramatic use of light, which are hallmarks of Bouguereau's style, serve to idealize and ennoble the subject.
It is a pink silk crepe kimono with wax-resist patterns, hand-painted design and metallic threads embroidery. The kimono is in full length and has elongated sleeves. The fabric is dyed with pink, leaving the family crest under the collar and the floral design part white. The red scale pattern is added using wax-resist technique. Then the design of multiple kinds of plants is hand-painted with white, red, yellow, and pale and blue green colors. There are mix of fall and winter flowers and trees: nandin on the left sleeve, plum, chrysanthemums, thistles, amaranths, camellias and narcissus on the front and back, makino (Chloranthus glaber, with red berries) and more camellias on the right sleeve. Embroidery is added in various metallic threads around the contours of flowers and leaves.
Flowers and trees represented in this kimono are traditionally considered fall and winter plants. The kimono is designed to be worn in these seasons. The “winter” plants such as nandin, camellias, narcissus, and plums are auspicious symbols; it is possible that this kimono was originally made for the New Year celebration.
This is a colorful abstract print with geometric shapes in blue, yellow, green and red outlined in black. There are also three white areas with black line drawings that depict a plant in a flower pot and two cypress trees in the bottom section and a landscape with mountains and a yellow moon in the upper right portion.