Daumier's lithograph satirically depicts a conference that took place in London in 1832 during which the freedom of Poland was severely restricted before being altogether abrogated three years later. The dead woman on the floor represents the unfortunate Poland surrounded by animals in military garb who probably represent the nations responsible for her "death."
Signed on stone, l.r.: honoré Printed inscriptions in margin, at l.c.: A Aix, à Marseille, à Lyon, à Toulouse, à Bordeaux, à Angers, partout, partout, partout. At l.l.: Lith. de Berquet, rue Childebert no9. At l.r.: On s'abonne chez Aubert, galerie véro dodat.
The Paul Leroy Grigaut Memorial Collection, 1969/2.81
Both Eugène Devéria and his brother, Achille, drew portraits of the virtuoso pianist and composer, Henri Herz (1803–1888); the Museum’s collection includes a lithographic portrait of Herz by Achille, possibly taken at the same sitting. Devéria studied with the painter Girodet and early in his career achieved great critical success; he spent the remainder of his career attempting to match that early acclaim.
This impressive watercolor shows Herz seated in what may be the Paris studio where he gave lessons. Known as a dazzling performer until his reputation was eclipsed by the explosive performances of Franz Liszt, Herz performed only his own works in concert and toured Europe as a young pianist. This portrait, executed at the height of Herz’s popularity, shows a confident young man seated in a well-appointed interior—a man seemingly in control of his music, and his fate.
The butterfly is a symbol of love and fidelity between husband and wife. One popular folk tale recounts the story of a young male student and a maiden who fell in love but were forbidden to marry. The student pined away and died, and when the maiden was on her way to her arranged wedding, she stopped to cry at his tomb. Suddenly the tomb opened and a butterfly emerged. She too was transformed into a butterfly and they flew away together.
Peach blossoms appear in the Book of Songs (Shijing / Shih-ching éç„S, China’s most ancient poetry anthology, compiled by the fifth century B.C.E. at the latest) in a poem about how young men and women should marry at an appropriate age.
Together, butterflies and peach blossoms make this fan a perfect wedding or engagement gift.
Maribeth Graybill, Senior Curator of Asian Art
Exhibited in "Flora and Fauna in Chinese Art," April 6, 2002 - December 1, 2002.
Signed by the artist: In 1832, I inscribed at Lai-yüan in Ch'ih-yang, Hsiao-t'ing. (Hsi Tao-kuang jen-ch'en (1832), t'i yü Ch'ih-yang chih Lai-yüan Hsiao-t'ing) One artist's seal follows the inscription: Hsiao-t'ing.
A pupil of the ukiyo e artist Utagawa Toyokuni, Kunisada emerged as an artist in 1807 with book illustrations, and the following year began to do actor prints. He specialized in actor prints and landscapes. In the 1830s he studied a more classical style of painting with artists in the Hanabusa studio, but he returned to ukiyo e briefly in the 1840s, when in 1844 he took the name of Toyokuni III (despite the fact that this name belonged to another of Toyokuni's pupils). In 1845 he retired.