Verso, inscribed in graphite, l.c.: "Miravan,/A young Nobleman of Ingria breaking open the/Tomb of his Ancestors, in search of Wealth, incited by/the equivocal Inscription, "In this Tomb is a Treasure greater than/Croesus possessed." found on entering is the following, "There dwells Repose,/Sacrilegious Wretch! Searchest thou for gold among the Dead? Go, Son of/Avarice! Thou canst not enjoy repose""; l.l.: "Jos. Wright. Pinx./of Derby"; l.r.: "Val. Green, sculp." Watermark: none visible.
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Verso, inscribed in graphite, l.c.: "Miravan,/A young Nobleman of Ingria breaking open the/Tomb of his Ancestors, in search of Wealth, incited by/the equivocal Inscription, "In this Tomb is a Treasure greater than/Croesus possessed." found on entering is the following, "There dwells Repose,/Sacrilegious Wretch! Searchest thou for gold among the Dead? Go, Son of/Avarice! Thou canst not enjoy repose""; l.l.: "Jos. Wright. Pinx./of Derby"; l.r.: "Val. Green, sculp." Watermark: none visible.
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Inscribed (in brown ink) on center of face of clock: Pendule No. 1 / J. J. Pautrier / hubert Upper right: P Watermark (obscured by backing and partially pencilled over): ARTH... over AUV... An indefinable mark.
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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.
Marcantonio Raimondi, one of the most skilled printmakers of his generation, worked closely with the Renaissance master Raphael (1483–1520), who made numerous drawings that Raimondi then executed as engravings. The Plague, which represents a scene from Virgil’s Aeneid, resulted from precisely such collaboration: it reproduces a drawing by Raphael now in the Uffizi Gallery in Florence. One scholar has suggested that Raphael even designed the drawing to showcase Raimondi’s talents at imitating the effects of light and dark. The results of such artistic cooperation between the two artists were extremely lucrative for both.
Inscription
On plate, u.l.: EFFIGIES SACRAE DIVOMPHRIGI On plate, l.c.: LINZVEBANT / DVLCES ANI / MAS, AVT AE / GRA TRAHE /BANT / CORP On plate, l.l.: INV. RAP.VR
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The artist of this painting was a master of subtlety in his choice of pale colors and the way he has combined multiple themes. The main scene in the foreground is of a king with his ladies standing somewhat stiffly in a palace courtyard. His sword and shield identify this image as a royal portrait and not a scene of dalliance. Even the architecture fits this formal purpose, with its geometric regularity. Beyond the palace walls, however, a very different mood prevails. Geometry gives way to organic shapes, and forms are only half-visible under the night sky. At the upper right, a royal procession (note the howdahs on the elephants) is en route to a small Devi shrine, the marble structure that glows in the moonlight. (The moon, almost directly over the shrine, was painted in silver that has oxidized.) At an even greater distance, we catch a glimpse of Krishna, surrounded by adoring gopis (cowgirls), in the forest. His dance and dalliance with them is known as Krishnalila—the “play of Krishna.”
The patron thus has himself presented as both a dignified military commander who presides over a cultured household and a custodian of local sites dedicated to the gods.
Exhibited in "Divine Encounters, Earthly Pleasures: Twenty Centuries of Indian Art" at UMMA, 12/12/03–2/22/04.
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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.
At the head of each plate of the Liber Studiorum was engraved a simple letter; H stands for Historical (in fact always biblical or mythological). See G. Wilkinson, "Turner on Landscape: The Liber Studiorum," p. 13.
Inscription
Inscribed in the plate, l.l.: Drawn & Etched by I.M.W. Turner Esqr. R.A.; l.c.: RISPAH/2nd Book of Samuel. Chap. 21/Published April 23, 1812 by I.M.W. Turner, Queen Ann Street West; l.r.: Engraved by R. Dunkarton; u.c.: H; l.l. corner: A
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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.
Text in "Malwi" language and "Devangari" character on the top of the illustration: "Rigini Gujari" 26" Doha" "Chaupayi" "Rachi pachi vidhi rachi Gujarih"
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While Rembrandt's "Descent from the Cross" of 1633 is affecting because of its dramatic action, realism, and show of emotion, this version touches us by its powerful dark and light contrasts, abstraction, and the focus on the inner responses of the participants.
Rembrandt daringly cropped the cross, placing the scenc of the Descent at the left edge of the composition. By compressing the figures, he increased dramatic tension while creating an intimate mood. The long diagonal of the winding cloth draws our eyes rightward from the top left down to the limp body of the dead Christ, held by a man tottering under the weight, beside whom appears a raised hand, sharply illuminated. Rather than the supernatural rays of the earlier print, here the torch held by one of the leftmost helpers is the sole light source. To concentrate the action, the artist left large expanses of paper nearly bare and created large areas of sheer darkness. The placement of the bier in the foreground makes it seem nearly part of our space, enhancing the personal quality of this print. Rather than display anguish, the figures seem to bear their sorrow inwardly. The emphasis is on Christ's suffering, as seen in his utterly exhausted expression and the wrenching detail of one foot still nailed to the cross.
Exhibition labe text by Dr. Annette Dixon for "Bold Strokes: The Inventiveness of Rembrandt's Late Prints," February 24 - April 28, 1996.
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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 woman sits in an interior holding a book in her right arm, which is propped upon a ledge. She reads by the light of a torch held by a child standing next to her. Print trimmed to image frame. Image was previously folded at center (multiple folds). Paper size: lh 27 3/5cm & rh 27 4/5cm x tw 22 3/5cm bw 22 3/10cm.
Subject Matter
This tranquil scene shows a sibyl, an ancient prophetess, reading by torchlight. The print is the first attempt by the artist Ugo da Carpi at reproducing a drawing by Raphael in an innovative medium known as chiaroscuro woodcut. Developed in Germany in the first decade of the sixteenth century, chiaroscuro woodcuts were the earliest images printed in color, produced entirely from carved wooden blocks printed sequentially upon a single sheet of paper. The muted tonalities of chiaroscuro woodcuts sought to capture the modulated effects of light and shadow, known by the Italian term "chiaroscuro" (literally "light/dark"), qualities that were prized in contemporary pen, ink, and wash drawings. In his "Lives of the Artists," first published in 1550, Giorgio Vasari wrote that Raphael produced a drawing "in chiaroscuro" to serve as a model for this print. The combination of a bright torch in a dark room was an ideal subject for this initial collaborative foray by the Renaissance master and Ugo da Carpi into the medium of chiaroscuro woodcut.
Label Copy
Ugo da Carpi
Italy, circa 1480–1532
A Sibyl with a Child Holding
a Torch
1518
Chiaroscuro woodcut printed with line block and one tone block on laid paper
Gift of Ruth W. and Clarence J. Boldt, Jr., 2008/2.420
This tranquil scene of a sibyl, an ancient prophetess, reading by torchlight is the first attempt by Ugo da Carpi to reproduce a drawing by Raphael in an innovative medium known as the chiaroscuro woodcut. Developed in Germany a decade before, chiaroscuro woodcuts were the earliest images printed in color, produced entirely from carved wooden blocks printed sequentially upon a single sheet of paper. The muted tonalities of chiaroscuro woodcuts sought to capture the modulated effects of light and shadow, known by the Italian term “chiaroscuro” (literally “light/dark”).
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 on an upright label: Hiroshige fude; Date Seal: Hare 7 = 1855, 7th Month; Publisher's Seal: Tsuta-ya Kichizo, also known as Koyeido; "Aratame" Seal (Examined).
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