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.
Two women accompanied by a pair of putti appear seated in the foreground of this painting. On the left sits a winged woman crowned with a laurel wreath and wearing a long white robe and a vivid ocher-colored mantle. She leans on a globe while cradling a large book in her right arm to which she points with her left hand. In her right hand she holds a compass. A putto peeks from beneath her mantle, and a viol is visible beneath the globe. The other woman sits on a cloud. She wears a golden crown and a richly colored blue mantle. She grasps a lyre with her left hand and leans toward the woman seated next to her, gesturing in the direction of the book with her right hand. A second putto stands near her left shoulder holding a gold circlet in his left hand. The background is filled with glimpses of neoclassical architecture, including fluted columns and a facade with a row of Ionic columns supporting an entablature.
Seated man with disfigured face and amputated lower legs, shabbily dressed, holding a crutch along with a bunch of flowers in his right hand
This study of a disfigured and destitute casualty of the Great War is an example of George Grosz's tendency to use art as indictment against the indifference of the powerful in the face of postwar suffering; the grievously injured veteran who must resort to begging to survive is a type commonly found in the artist's Weimar era work
Pipe made in three parts: wood-carved stem, inner metal pipe for drawing smoke, and metal, possibly bronze bowl. Wood-carved, openwork stem is comprised of interlocking lizards; spiral whorls cover the cast metal bowl. bands of cowrie shells encircle the bottom and “neck” of the bowl, while its lip is topped with the classic Grassfields motif of a prestige cap.
Throughout the Grassfields region of western Cameroon, men and women smoked pipes at social gatherings, to rest while working in the fields, and in sessions of the royal court. The kind of pipe that one smoked--its design, iconography, and the materials from which it was made--reflected one’s status in society and an ability to appreciate beautiful things. Pipes drew from a rich repertoire of sculptural forms and symbols that characterized the visual arts of the region. “Prestige pipes” completed the attire of chiefs and noblemen, as their elaborate forms and iconographic motifs spoke of royalty and wealth.
Pen drawing on paper printed with a blue rectangle frame; signed on verso.
This pen drawing, which was possibly a study for the sculpture Walk-on (1968), depicts 4x4’s in various configurations on muddy ground. Some of the planks are attached to each other at one end, or at the middle, forming an “X”.
Teabowl with brown/black tenmoku glaze and golden leaf design on interior.
Among the most rare and celebrated products of the Jizhou kiln in central Jiangxi Province, China are the “tree-leaf pattern” bowls of the Southern Song dynasty (1127–1279). A beautiful pattern is created by placing a leaf on the interior bowl surface before applying the glaze; during firing the leaf turns to ash, creating an image of a golden leaf in the black glaze, as seen in this contemporary Japanese tea bowl.
A man stands within a wooden building, postioned half-way down a deep vista that goes all the way through the building. At the far end of the passageway, a seated figure faces out looking at water and buildings on the opposite shore. The standing man's figure is illuminated by a bright (unseen) overhead light source, such as a skylight, and pairs of ladders are visible on either side of his figure. The foreground of the image consists of dark timbers that frame the view of the passageway and figures; beyond the man, the wooden architecture becomes a jumble of different sloped ceilings and walls, suggesting that this part of the building was constructed at different times or ad hoc.
Whistler repeatedly experimented with doorways framing views and with the dramatic chiaroscuro juxtapositions of light and dark passages. In this image of a warehouse in London, Whistler creates great visual tension between the densely worked timbers of the foreground 'frame' and the limpid quality of the light around the figure of Mr. Jones and the small triangle of light on the floor.