An elegantly attired young woman is shown in a half-length portrait. Her hands are crossed in front of her at the wrist and she holds a partially open folding fan in her right hand. Her blue silk dress has long lace cuffs and a lace overlay at the shoulders and bodice. The bodice is also ornamented with silk bows of matching silk. At her neck is an elaborate pearl and lace choker; she has a matching pearl bracelet and seed pear earring. Her haif carries the blue of dress in the ornamentation at the crown of her head. Ribbons from her hair ornament cascade down either side of her bosom.
Johann Valentin Tischbein was a member of a prosperous Saxony-based family of artists. Tischbein spent time in the Netherlands working in Maastricht in 1747 and then at the Hague in 1750, before settling in Kassel as a court painter.
We do not know the sitter of this portrait, but from her elaborate dress we may assume that she was a young woman of rank in the region near Kassel. This painting is unusual in that it has never been relined (the process of adding a second canvas behind the original to give it support and strength) and preserves the freshness of the brushwork, particularly in the areas of the lace where the delicate impasto is frequently lost during relining.
Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.
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
A group of laborers, wearing hats and jackets, walks from viewer's right to left along a street littered with garbage. The two in the front carry shovels. In the background is an industrial landscape, dirty and in disrepair.
One of George Grosz's many works from the period after the First World War that explore the hardship of the poor and the working class in Germany's economic crisis, against a backdrop of a decaying industrial landscape.
In front, a woman wearing a hat depicted in profile faces to the left with three male figures behind her, one of which, depicted in profile and facing to the right, has the top of his head cut off; the background is comprised of architectural and figural fragments.
Grosz targeted a range of occupational and class types for scathing observation during the early Weimar years. These decidedly ugly denizens of the interwar Berlin street, which typically include pompous industrialists, strutting military leaders, and prostitutes, are often fragmented, truncated, and depicted in outline in cubo-futuristic juxtaposition with architectural fragments and other figures.