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.
Cloth figure of a human, bound around human remains. The figure is in a seated position with arms outstretched. The torso and neck are cylindrical and elongated.
Muzidi are depictions of ancestral spirits. Once properly activated, they protect their descendants from general misfortune and illness. Like minkisi, they accomplish this by connecting beings from different points of existence. Although they are inhabited by specific ancestors, their form does not represent them physically. Muzidi are deactivated when the ancestor spirit leaves it, reverted back to a inanimate object.
Signed in the image at the lower r. corner: Louis Raemaekers In the design in the margin between image and border at the lower l.: The U.S. Navy Publicity Bureau/gratefully acknowledges/its indebtedness to the Century Co. for the reproduction/of Mr. Raemaekers' cartoon. Lower right: Copyright by the Century Co./Printed by the U.S. Navy Publicity Bureau, N.Y.
Eight robed male figures, each with a halo, kneel before a v-shaped bench or rail. They face a male figure with a crossed halo that stands on the other side of the bench, holding a golden chalice in his left hand and a circular white wafer imprinted with a crucifixion scene in his right. An altar draped with a red cloth appears behind him. The entire scene is enframed within the letter "C."
This miniature scene, enclosed within the letter "C," depicts Christ standing before an altar giving the bread and wine of communion to the Apostles. The painting has been cut from a manuscript, where the letter "C" served as the initial letter of the phrase used to begin the mass for the Feast of Corpus Christi, an important Christian holy day dedicated to commemorating Christ's bodily sacrifice. The image of communion in the miniature introduces this feast perfectly, since according to Catholic belief the bread and wine were transformed into Christ's body and blood during the mass.
In the foreground, illuminated white, a woman, her long hair hanging down her back, kneels and gazes upward, her arms extended in front of her, her hands pointing skyward. The sky is nearly all dark, with a full moon appearing in the center top of the image.
A woman on knees looks up into, pleads, with the heavens. She is illuminated by moonlight, with a full moon appearing in the topmost sky. From an illustration series for Bach's Cantata, with Alma Mahler serving as model.
This broken fragment depicts a now headless goddess or yakshi standing with a much smaller male attendant. She wears a necklace, bracelets and a girdle consisting of three rows of small round shapes. She stands with her left hand at her waist and the right hand next to the head of her attendant. He wears a turban and large earrings and a belt of a single line of round shapes. They both wear diaphanous lower garments that make them appear nude with both of them with their genitals exposed. The fragment is broken above the male figure’s knees and below the yakshi’s knees.
Yakshi images, like mother goddesses, have a long history in Indian art. Yakshi are nature goddesses, associated with trees and fertility. In this charming terracotta, a yakshi is attended by the figure of a small male figure. Although the figures may appear to be naked, each actually is wearing a diaphanous garment from the waist down. The swelling volumes of the figures mimic the voluptuous forms found in the stone sculpture of the period. This small image was probably pressed into a mold, rather than modeled by hand.
Early terracotta sculptures such as those on view in the exhibition were once dismissed as “folk art,” but today they are given serious scholarly attention and eagerly collected on the international art market.
This print is vertically oriented with gray markings. A cream border surrounds it and it has “EVENING” written below it. The lower half of the print has a pastoral scene with several adults and children by a stream at the bottom of the print. Behind them, someone milks a cow. The upper half shows the tops of buildings and rolling hills. A sunset is taking place with dramatic clouds.
Hogarth created several print series that satirize mores and values of 18th century England. In his suite, "The Four Times of Day," executed after a series of paintings, he employed humor, not just to comment on London society but to breathe new life into images marking the times of day. Hogarth translated portrayals of the times of the day from their pastoral origins to that of contemporary London. The pastoral, eternal and ideal here become urban, specific and comic. Each of the London sites shown in this series was considered disreputable in its day and the congested setting acts as a foil and context for the figures.
Set in a lush summer setting, "Evening," shows a young dyer’s family escaping the heat of the city to enjoy the middle class resort of Sadler’s Wells. The dyer accompanies his formidable wife as they stroll past a tavern and a cow being milked. The placement of the cow’s horns behind the husband’s head indicates that he is a cuckold; the pair of children on the left of the composition underscores the unfortunate situation of the male, in each instance dominated by a larger female.
Text: Courage, Comrades, I'm Coming - Hold Allies!! Stand England! Stand France! Stand Italy! Hold the lines against the Hun a few months longer - Our boys are coming - a million men are on the way & millions more to follow - Behind them stands America - that means you & me! - 100,000,000 strong - American Says: Down With Autocracy! - Up With Democracy! - I'll Save. I'll Sacrifice. I'll Serve. I'll Endure. - To the End that the World = "under God shall have a new birth of freedom and that the government of the people, by the people, and for the people, shall not perish from the earth" - Issued by Connecticut State Council of Denfense