A temple lies in the not-so-distant background of tree and mountains. Travellors weave their way along the path, some on horseback. They have their heads covered--some with cloth and some with hats.
This fan painting depicts a well-known historical event of the Kaiyuan era (713–41), when seven prominent scholars celebrated the first winter snow by venturing forth together for an outing to the famous Longmen temple outside of the capital city of Chang’an (today’s Xi’an). This attractive fan was painted by Sheng Maojun, the younger brother of the renowned painter Sheng Maoye from Suchou.
Signed on plate at l.l.: H. Robert del; l.r.: F. Janinet sculp. Printed in lower plate margin, l.: H. Robert del.; c.: Vitta cui nomen Madama, Temporis injuria pene diruta. A Paris chez l'Auteur, Place Maubert, Hotel de la Limace.; r.: F. Janinet sculp. 1778
This etching, in a pale blue, brown and gray color scheme, depicts an outdoor scene with a large Roman style building and several human figures in the foreground. One giant wall, with two large arches, with semi-circular apses behind, crosses the middle section of the composition from left to right. It intersects a massive building that has a series of vaulted chambers. Both structures have crumbling stonework and overgrown vegetation. There are several groups of women in the foreground on both sides of a river. Some are in the water washing laundry and some are standing with wash hanging on lines. There is a small dog on the shore.
This etching shows the Villa Madama, a villa along the Tiber River, outside of Rome, that was designed by Raphael and built in the early 16th c. This villa was meant to imitate the villas of Roman antiquity and included architectural elements of that period, such as massive vaults. By the time that this etching was done in the late 18th c., Villa Madama had fallen into ruin and become a location for washerwomen to do their work. Such juxtapositions of Roman architecture (particularly ruins) and picturesque figures occupying formerly grand spaces was a speciality of the French painter, Hubert Robert. Janinet's color engraving evokes watercolors of the period by French artists working in Rome, including Robert and Fragonard.
On the plate, l.r.: Israel ex. Cum Privil. Reg. On the plate, lower right margin: 17 On the plate, lower margin, six verse lines in groups of two disposed from left to right: Après plusieurs degast par les soldats commis A la fin les paisans, qu'ils sont pour ennemis Les guettent à lescart et par une suprise Les ayant mis à mort les mettent en chemise, Et se vengent ainsi contre ces Malheureux Des pertes de leurs bien qui ne viennent que deux.
White earthenware “sleeping” head lying on its right cheek (right ear omitted to lay flat) with a geometric section of crown removed. The cut at the head is painted terra cotta, the cut at the neck painted with a landscape of a tree at the edge of a cliff. A forest scene set against pink mountains covers the face, and desert rock formations in silhouette cover the back of the head.
Part of Lucero’s Dreamers series, the artist has cut away the top of the head to allow the dreamer's thoughts to spill out onto his face.
“The surface imagery of the Dreamers is crowded with personal icons from Lucero’s life, including...images of Northwest Coast totem poles recalling his years in Washington State, and the characteristically red earth and rugged landscapes of New Mexico where he spent childhood summers and has a home. While he was making the series, Lucero was not aware of the dream symbolism. However, looking back, he has realized that many of the craggy landscapes and shaped rocks and cliffs derived both from childhood associations, such as Camel Rock, which terrified him as a child, and from youthful nightmares.” (Mark Richard Leach, Barbara J. Bloemink and Lucy R. Lippard, Michael Lucero: sculpture 1976-1995, p. 53)