Constant received his training at the Academy of Toulouse and studied in Paris under Cabanel. During the Franco-Prussian War of 1870-71 Constant traveled in Spain and North Africa, collecting objects that he later included in his paintings. His work is in the style of Romantic Orientalism which enjoyed great popularity during much of the second half of the nineteenth century.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Subject Matter
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
Inscription
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Constant received his training at the Academy of Toulouse and studied in Paris under Cabanel. During the Franco-Prussian War of 1870-71 Constant traveled in Spain and North Africa, collecting objects that he later included in his paintings. His work is in the style of Romantic Orientalism which enjoyed great popularity during much of the second half of the nineteenth century.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Subject Matter
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
Inscription
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This square of fabric illustrates the tie-dye technique, with dots of fabric gathered into a tight bunch and dyed contrasting colors. The bunching threads are still in place.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Hiroshige is often considered the master of landscape prints. The Fifty-three Stations of the Eastern Sea Route series, to which this print belongs, made him famous. The Tokaido, or "Eastern Sea Route," stretched from Edo (present day Tokyo) to Kyoto with fifty-three stopping places. Hiroshige's sophisticated use of soft lines, rounded forms, dark sky, and subtle tones convey the utter silence and weariness of the figures, making this one of the artist's finest works.
The Museum owns four impressions of this print, none from the first impression. Variations came from manipulations of the same blocks, depending upon the skill and taste of the printer. In this case, the first impression has a heavily inked area at the upper portion of the sky. Wiping off part of the darker pigment, the printer created the gradation effect. Had the dark sky descended too far, the title would have been covered. The sky appears only in a flat grey that reduces the dramatic effect.
During the second or third impression the printer remedied this effect by moving the heavily inked area to the lower portion behind the hills and trees, creating a far more impressive night scene with a stronger contrast. While the original first impression has sharper lines, the alternative impression is more dramatic for reproduction.
Of the Museum's four prints, 1948/1.122 is the earliest impression, followed by .124 and .123. In the latest version, .125, the troublesome gradations are almost omitted, with the sky appearing only in flat gray. By this time, however, the original blocks were no longer complete, and the footprints totally disappeared, greatly reducing both the snow and night effects.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Born Jane Caroline Mahon in Detroit, Michigan on July 21, 1863. Married Louis Crandall Stanley, who was at one time president of the Detroit Archaeological Society. Died October 31, 1940 in Ann Arbor, Michigan, after a brief illness. She had been living at the home of her son, George Stanley, a member of the Geology Department at the University of Michigan. Her daughter, Alice Stanley Acheson, was also a painter and the illustrator of New Roads in Old Virginia, and her father-in-law, John Mix Stanley, was a painter of Indians and western landscapes.
Stanley studied with Charles Sanderson, Louis K. Harlow, H. H. Hallett, and S. P. R. Triscott, and in London with Leonard Richmond. She was a charter member of the Detroit Society of Women Painters and Sculptors and was active in several other artists’ societies. Most of her paintings depict scenes observed during her world travels. She continued to seek out new inspiration for her work even as she grew older, traveling to Mexico and Central America three years before her death.
In a brief announcement (11-6-27) of her return after a year spent in northern Italy and the exhibition of her paintings at the Bonstelle Playhouse Gallery, the Detroit Free Press wrote, “Her sketches of Venice depart from the too-familiar beauties known to the genus ‘tripper,’ and find the flavor of native life in the city.”
Mrs. Walter Parker bequeathed thirty of Stanley's watercolors to the University of Michigan Museum of Art, Ann Arbor, in 1954. The Detroit Art Institute also owns works by Stanley, as does the Corcoran Gallery of Art and the National Museum for Women in the Arts.
Memberships: Detroit Society of Women Painters; American Water Color Society; Washington Water Color Club; National Association of Women Painters and Sculptors; American Federation of Arts; Ann Arbor Art Association
One-person exhibitions: Bonstelle Playhouse, Detroit, 1926-27; John Hanna Galleries, Detroit, 1928, 1938; Ann Arbor Art Association, 1931, 1938; Argent Gallery, New York City, 1942 (two-person)
Group exhibitions:
Detroit Society of Women Painters Annual, Detroit 1905, 1921, 1923, 1930, 1933-34, 1951
Annual Exhibition of the Scoiety of Western Artists, Detroit Institute of Arts, 1910
Annual Watercolor Exhibition, Pennsylvania Academy of Fine Arts, 1925, 1928-29, 1931
Detroit Society of Women Painters, Argent Gallery, New York City, 1932
Ann Arbor Art Association, 1937
Sources: Acheson, Alice. Jane Stanley, 1863-1940: Her Life and Work. Washington, D.C.: Whalesback Books, 1990; Artists in Michigan, 1900-1976: A Biographical Dictionary. Detroit: Wayne State University Press, 1989; Detroit Free Press, November 6, 1927; Detroit Free Press, November 2, 1940; McGlauflin, Alice Coe, ed. Dictionary of American Artists, 19th and 20th Century. Poughkeepsie, NY: Glenn Opitz/Apollo Book, 1982; New York Times, November 1, 1940; Opitz, Glenn B., ed. Mantle Fielding’s Dictionary of American Painters Sculptors and Engravers, 2nd ed. Poughkeepsie, NY: Apollo, 1986; Pettys, Chris. Dictionary of Women Artists. Boston: G. K. Hall, 1985.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
