Crayon-manner engraving was introduced in France around 1750 by Jean-Charles François. A hard-edged and linear medium, the lines created by engraving could not approximate the soft and diffused contours produced as chalk and graphite are drawn across the surface of paper. This new process, utilizing roulette wheels and punches to achieve a variegated and broken line more like drawing media, was perfected by Demarteau and Louis-Marin Bonnet—both of whom claimed the technique as their own creation. As more artists adopted the medium of crayon-manner engraving, additional tools were created, some of which were derived from goldsmiths’ tools. Just at the time when important collections of drawings, such as the Crozat collection, were being formed, crayon-manner engraving allowed these collections, and other drawings by modern masters such as Boucher, to be recreated in a print medium that that could be disseminated to a wide audience.
Exhibition label copy from "Eighteenth Century French Prints and Drawings," February 1 - May 4, 2003 by Curator Carole McNamara
Inscription
Lettering in lower margin: Boucher inv. del. Demarteau 1.né sculp. Tiré du Cabinet de Monsieur de Grandcourt A Paris chès Demarteau Graveur du Roi rue de la Pelleterie à la Cloche No. 215
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.
Crayon-manner engraving was introduced in France around 1750 by Jean-Charles François. A hard-edged and linear medium, the lines created by engraving could not approximate the soft and diffused contours produced as chalk and graphite are drawn across the surface of paper. This new process, utilizing roulette wheels and punches to achieve a variegated and broken line more like drawing media, was perfected by Demarteau and Louis-Marin Bonnet—both of whom claimed the technique as their own creation. As more artists adopted the medium of crayon-manner engraving, additional tools were created, some of which were derived from goldsmiths’ tools. Just at the time when important collections of drawings, such as the Crozat collection, were being formed, crayon-manner engraving allowed these collections, and other drawings by modern masters such as Boucher, to be recreated in a print medium that that could be disseminated to a wide audience.
Exhibition label copy from "Eighteenth Century French Prints and Drawings," February 1 - May 4, 2003 by Curator Carole McNamara
Inscription
Lettering in lower margin: Boucher inv. del. Demarteau 1.né sculp. Tiré du Cabinet de Monsieur de Grandcourt A Paris chès Demarteau Graveur du Roi rue de la Pelleterie à la Cloche No. 215
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.
Inscription of artist: On a spring day of Jen-ch'en year (1652), painted for Mr. Hsiang-k'e. Ch'ing-hsi, K'uei. (Jen-ch'en ch'un-jih wei Hsiang-k'e she-hsiung hua, Ch'ing-hsi ti K'uei) Seal of artist:
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.
Inscription: To live elevated … Gong Xian [a.k.a.] Banmou
Two seals of the artist
Gong Xian, a skillful painter and poet, celebrated for his innovative use of multiple layers of short vertical brushstrokes to texture mountains and rocks, used the thatched-roof hut perched in the mountains to represent his home on Clear and Cold Hill in Nanjing. Gong Xian’s inscription reads:
[In order] to live elevated, one should entreat a favor of the stone boulder [and use it] as a terrace [foundation].
Open fully all eight windows; [the dwelling] becomes pleasant and bright.
Day after day I gaze at the mountain and never tire of it.
[I wonder] how many can forget their mundane affairs, exit the city, [and enjoy this splendor]?
Inscription
Inscription of the artist: "[In order] To live elevated, one should entreat the favor of a stone boulder [and use it] as a terrace [foundation[]. Open fully all eight windows; [the dwelling] becomes pleasant and bright./ Day after day I gaze at the mountain and never tire of it. How many can forget mundane affairs, leave the city, [and enjoy this sight]? [signed] Gong Xian Banmou"
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.
Born into a distinguished family in a city west of modern Shanghai, Wang Yuanqi was exposed to classical paintings and literature from an early age. He seems to have had a natural affinity for artistic and intellectual pursuits, and enjoyed great success as a painter. He also had a remarkable official career and occupied several high governmental positions.
Inscription: On the Dragon Boat Festival Day in the year 1696 of the Kangxi era. Yu Zhiding
Two seals of the artist
Born into a distinguished family, Wang Yuanqi was exposed to paintings and literature at an early age and was naturally inclined toward artistic and intellectual pursuits. He also had a remarkable official career, occupying many high governmental positions. Wang tells us in the inscription that in this painting he is paying homage to the great fourteenth-century scholar-artist Huang Gongwang. However, Wang transcends the past and creates his own style, as expressed in this exquisite illustration of his virtuoso ability and artistic vision.
Inscription
Inscription and signature of the artist: "Painted in the summer of 1705, in the style of Dachi [Huang Gongwang, 1269–1354], at the Inherited Benefits Hall in the capital [Beijing]. Wang Yuanqi."
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The piece includes a large title section, landscape image of the garden,
two seals of the artist, and a portion of calligraphic text.
The text reads: "The Small Cloud Dwelling occupies a corner of Mr. Dingfu's Green Surrounded Mountain Villa in Nanxun. His respected wife, Lady Pang, used to meditate and chant sutras there… In the 8th month, fall of 1909, Lu Hui completed this painting …"
Subject Matter
This handscroll was commissioned by a wealthy Shanghai patron to memorialize his mother, a devout Buddhist, who meditated at “The Small Cloud Dwelling.” The tranquility of the breathtaking scenery transcends the chaotic material world, making this scroll a moving expression of the deep feelings of a bereaved son. It includes a large title section, landscape image of the gargen, and a portion of calligraphic text.
Label Copy
Title calligraphy: Picture of the Small Cloud Dwelling, made for the distinguished Mr. [Zhang] Bianchun. [Inscribed by] Zheng Xiaoxu (1860–1938)
Inscription, following the painting: The Small Cloud Dwelling occupies a corner of Mr. Dingfu's Green Surrounded Mountain Villa in Nanxun. His respected wife, Lady Pang, used to meditate and chant sutras there… In the 8th month, fall of 1909, Lu Hui completed this painting …
Two seals of the artist
Lu Hui was an early twentieth-century literati painter whose painting style draws on the Wu School and the art of the Four Wangs—famous painters of the seventeenth century who shared the same family name. To execute his work, Lu Hui preferred soft brushes and absorbent paper to achieve a subtle, hazy appearance.
This handscroll was commissioned by a wealthy Shanghai patron to memorialize his mother, a devout Buddhist, who meditated at “The Small Cloud Dwelling.” The tranquility of the breathtaking scenery transcends the chaotic material world, making this scroll a moving expression of the deep feelings of a bereaved son.
(Chinese Gallery Rotation, Spring 2009)
Inscription
Long inscription of artist at the end of the painting, titled: Dwelling Place of Small Clouds (Hsiao-yün hsi-t'u); Two artist's seals following his inscription: Lu Hui ssu-yin, Lien-fu; Frontispiece calligraphy by Chêng Hsiao-hsü (an artist, ca. 1860-1938)
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.
Inscription: Painted on the 3rd day of midwinter, 1637. Chen Guan
Three seals of the artist
A stately scholar, leaning on his staff and accompanied by an attendant carrying a wrapped zither, approaches a dwelling that is partially obscured by the two large trees in the foreground. Above are towering peaks, clouds, and a waterfall. Characteristic of Chen Guan, the foliage of the tree is created by thousands of minute ink dots. Chen was one of the fine, lesser-known literati artists of the late Ming period. In 1644, only seven years after Chen Guan painted this scroll, the Manchus invaded China and the Ming dynasty came to an end.
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.
Signed, upper left: Chien; Two artist's seals in the upper left; Inscription at the top left reads: Imitating (the style of) Pai Shih-wêng (White Stone Old Man) by Chien (Fang Pai Shih-wêng pi Chien);
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Title, upper right; One artist's seal in the upper right; Inscription at the top right reads: Lakes and mountains to the farthest distance, (Hu-shan ju-chin ?).
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An outstanding Kyoto painter of the late 18th and early 19th century. Offspring of a wealthy merchant family, he studied both painting and poetry with Yosa Buson, and was Buson's closest disciple when Buson died in 1983. Later, however, he gravitated toward Maruyama ôkyo, the leading painter of a far more commercially successful style of naturalist painting. In his late years, Goshun founded the Shijô (Fourth-Avenue) School of naturalist painting in Kyoto. The Maruyama-Shijô stylistic lineage dominates Kyoto painting to this day.
Goshun was one of the founders of the Shijo school. Trained as a Nanga painter who took early Chinese paintings as models, he later followed the styles of Buson and Okyo, two of his contemporary masters. Goshun painted this pair of screens only a few months after he had moved to Ikeda while recovering from the shock caused by the deaths of his wife and his father. The screens took on new meaning to the artist when he abandoned life in the city for the countryside. The Michigan screens are the earliest known examples of screens on rural life by Goshun.
Inscription
Signed in right screen: Son'inhaku sha. Seals in right screen: Sonpaku no in, Inhaku.
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A Zen monk and Nagasaki school painter. He was a monk at Shuntokuiji, a Zen monastery in Nagasaki, for 35 years, eventually becoming 14th abbot. A traditional history of Nagasaki painters reports that he studied with the Chinese artist Jiang Jiapu (represented in our collection by 2000/1.36), but the dates seem unlikely, as Jiang purportedly came to Nagasaki in 1804. A contemporary and fellow student of Chinese painting in Nagasaki was Kinoshita Itsuun (see UMMA 1983/2.246). Source: Zoku Nagasaki gajinden, entry for Kô Kaho.
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Signed in negative, l.l.: "Saché" Inscribed in graphite on mount below image, l.r.: "Native Bazaar" Verso, inscribed in graphite, u.l. corner: "39x/Native Bazaar"; u.r.: "IMG"; l.r.: "B570"
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Pei-yüan is one of the pseudonyms of Tung Yüan, the leading master of the Southern School of landscape painting, who lived during the Five Dynasties (907-960).
See object file for exact inscription.
Inscription
Signed, upper left: Hsiang-pi Chien; One artist's seal in the upper left; Inscription at the top left reads: Imitating (the style of) Pei-yüan by Hsiang-pi Chien, (Fang Pei-yüan pi Hsiang-pi Chien).
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.
