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.
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.
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.
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.
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.
Signed, dated, and inscribed, l.l.: John Sloan/ The New York Call Jan. l9l0/ The Scab Inscribed in red pencil, l.r.: JS #624 Inscribed on drawing, since removed: The Boss has just old the young lady Scab that she is his equal because she is a Scab/ That she is an American for the same reason! That only "foreigners" go on strike!/ and that by being a Scab she is gaining the respect of the community - she believes all this!/ The two strikers [sic] pickets respect themselves they believe
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.
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.
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.
A bowl containing apples rests in the center, flanked by two conical drinking cups.
Subject Matter
Vlaminck's early Cubist experimentation with representation of space, objects, and perception. One of the earliest examples of the Cubist style incorporating the traditional still life.
Label Copy
March 28, 2009
Maurice de Vlaminck—a painter, printmaker, draftsman, writer, and musician—is thought to have had no formal training as an artist. He made his living as a bicycle mechanic, a café violinist, and a writer for anarchist newspapers. Vlaminck reveled in his rough-and-tumble roots and his undisciplined lifestyle, and he often ridiculed the pretensions of high culture; he claimed, for example, that he had never visited the Louvre and even demanded that Europe’s most prestigious fine arts academies be burned down. Still Life with Apples, however, contradicts this self-fashioned image of the artist-as-rebel. Here Vlaminck demonstrates himself to be familiar with and accomplished in the leading stylistic developments of early twentieth-century avant-garde painting. The application of paint in little blocks of color and the rendering of objects, which seem to bleed into the surrounding environment as a consequence of open passages, are especially reminiscent of the work of Post-Impressionist painter Paul Cézanne, whom Vlaminck greatly admired.
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.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
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.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
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.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
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.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
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.
