This photograph is horizontally oriented and portrays a marshy shoreline. The foreground is filled with rushes. The horizon line, in the upper portion of the work, depicts homes, a windmill in the distance, and patches of water. Bare trees also dot this outdoor scene.
Initially trained as a physician, Emerson purchased his first camera in 1881 while a student at Cambridge University; in 1886 he abandoned medicine for photography. "Life and Landscape on the Norfolk Broads" was a photographic album that Emerson co-authored with the English painter Thomas F. Goodall (1856–1944). This work shows the artist’s deep connection with the broads (or marshes) of the Suffolk landscape near Norfolk, a subject matter found in nearly all his works. He often portrayed these watery lowlands with a very high horizon line. Here, the sharp, staccato accents of the reeds in the water of the foreground diminish the viewer’s sense of spatial recession, an effect that is further enhanced by the nearly abstract patterning of the reeds in contrast to the simple rounded masses of the huts and houses.
Among Akan-speaking peoples of Ghana and Côte d'Ivoire, merchants and traders used weights to weigh golddust, by placing an amount of golddust on one scale of a hand-held balance, and a weight such as this one on the other. All traders used to have their own set of weights, and for a transaction, each trader would weigh the golddust using his own weights. There were no fixed shapes or forms to represent a particular weight (or amount of gold dust), but each trader would have weights in a variety of shapes and sizes and would know the mass of all the weights in his own collection.
This vase is in the form of a flower. The "petals" of the vessel are of folded iridescent glass in shades of gold, pink, and green. The slender green "stem" continues to the base, also in green glass.
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Landscape painting depicting trees with a solitary deer in the center of the canvas
Blakelock eschewed a literal transcription of nature, preferring to paint evocative and emotional paintings of illuminated moments in nature, of moonlit landscapes depicting the wilderness and solitude. “Deer in a Deep Woods” includes a solitary figure of deer absorbed into the setting rather than being the focus of the painting, and is imbued with a melancholy drawn from Blakelock’s deeply felt response to nature.
This is a delicate landscape. There are mountain crags, dispersed trees and bushes, and some houses/huts depicted. There is calligraphy on the upper right hand corner with one red seal, and towards the upper left corner with a red seal. There is also another red seal on the lower left hand corner. The colors are muted and are barely discernable from one another. There is a central jutting rock in the center of the painting that takes up a lot of horizontal space, and encourages the eye to travel upwards.
This work depicts Mount Huang (Yellow Mountain), located in Anhui province in south-central China. A site of extraordinary natural beauty noted for its range of rocky peaks, it was a favorite subject of poets and painters for centuries. For artists from the region, including Sun Yi, whose hometown was at the foot of the peaks, Mount Huang was an inexhaustible theme. After the Ming dynasty (1368–1644) fell to the invading Manchus, Mount Huang took on a particular political significance. The isolated red peak towering/jutting above the surrounding green mountains in this painting most likely alludes to the struggle of the failing Ming court against the onslaught of the Manchus. This interpretation is strengthened by the artist’s inscription, which references/quotes a description of Mount Lu by the writer Wang Siren (dates?), known for his loyalty to the Ming court. Wang describes the mountain as “a red-colored castle on fire,” whose “high pinnacle almost pierces through the many layers of clouds.” [These words in combination with the image suggest Sun Yi’s [hopes for the eventual triumph of [Manchu-ruled Qing].
Examples of Sun Yi’s painting are extremely rare; The Cinnabar Peak, his only painting outside of China, is by far the finest example. (171 words)
The lady stands against a bright green background with only a hint of physical setting. There are some ground lines at her feet with springs of red flowers and a simple stylized willow tree that curves around the figure. She stands with her body turning towards her right with her head in profile. She lifts a flower up in her right hand and hangs her left arms down past her waste. She wears tight lavender colored trousers with a diaphanous skirt covering them with a gold and colored brocaded scarf hanging down the center. Her breasts appear bare, but actually the blouse is also sheer, with a darker color at the shoulders and below her breasts. She wears gold brocade slippers and wide bracelets with black pompoms and rings, necklaces, earrings and a scarf hangs from her shoulders. A gold turban with a black aigrette crowns her. The portrait is framed with some gold and black lines and placed on a simple, buff colored border. An inscription in nastaliq‘ script is above the painting.
The high plateau of south central India, known as the Deccan, was under the rule of Muslim courts from the sixteenth to twentieth centuries. Painters were summoned from both Persia and the Mughal court to serve local rulers, but once ensconced in the Deccan, they worked in tandem with local artists to develop a distinctive regional style. This profile portrait of a young woman with a flower in her hand adheres to a composition frequently found in Mughal painting, but the surprising contrast of colors—the play of lavender trousers against a lime-green background—is fresh and appealing, and completely Deccani in taste. The stylized sprigs of flowers scattered in the foreground create both a shallow space cell for the figure and a decorative pattern, while the arching willow branches frame her proud visage.
A sweeping winter river scene opens up from the foreground and sweeps away towards the left. Ice floes dot the river surface and snowy hills frame trees that stand along the riverbank in the middle distance. The palette of this painting is restricted to mauves, blues, greens, and whites.
Dark landscape set atop a rocky mountain with sparse vegetation. There is a small boulder in the left foreground space with a dead tree standing beside it; in the right foreground there is what appears to be a small cave. A dead and broken tree lies across the bottom of the picture frame. There are mountains in the distance and a dark stormy sky above with a break in the clouds near the center of the canvas that reveals a sunny blue sky.
“In the Mountain Fastness” is a dark, moody, idealized landscape painting whose title is derived from a line in the popular classic Protestant allegory “The Pilgrim’s Progress” by John Bunyan, a Christian writer and preacher. Huntington believed that art had a high moral purpose and was a medium of spiritual truth. This work reflects Huntington’s deeply held personal religious beliefs and celebrates the grandeur of God’s power and creation in nature.
On the stone, l.l.: Butterfly monogram Signed in pencil, l.l.: Butterfly monogram Inscribed in pencil, verso, l.l.c: w23 (Nesta Spink believes that this impression was sold out of the exhibition at the Fine Art Society. In that exhibition "Early Morning" was cat. no. 23. Inscribed in pencil, recto, l.r. margin: c4803 Inscribed in pencil, recto, l.r.c.: 19
Two men sit on a bench at the lower right. Behind them is a large expanse of water; barges ply the water while smokestacks and buildings are visible on the opposite shore. The overall impression is one of foggy weather and features are generally indistinct.
Whistler found that liminal times of day offered effects that he could translate into a particularly appealing visual poetry. Many of his works sited from the part of Chelsea where he lived looked across the Thames towards the industrial establishments of London; these unpromising views were transformed by his atmospheric and evocative portrayals.
This painting depicts a lush green countryside with an expanse of blue sky. It shows a hillside overlooking a small lake. There is a vista of fields and hills that extends beyond the lake to the horizon.
In the foreground, a woman wearing a long dress and a bonnet and carrying a walking stick and basket, walks toward the viewer along a dirt path. The path runs from a building on the far left toward the bottom of the painting. The vegetation is painted in sharp detail in dark tones of green and brown.
In the right half of the composition, there is a scene of a distant village and farms viewed through the trees on the edge of the hillside. In contrast to the shadowy wooded area, the view is bathed in bright sunlight. There is a lone bird in flight in the light blue sky that fills the top half of the painting.
In 1849 Herman Herzog entered the Dusseldorf Art Academy and studied with Achenbach and Schirme, two painters who were known for their literal and precise style of landscape painting. This work illustrates his training in the academic tradition of landscape painting. It has a balanced composition with foreground, middleground, background and atmospheric perspective to create the illusion of spatial depth. Tree formations and sunlight direct the viewer's eye back through the painting to the faraway village scene. Herzog's realism is especially evident in the foreground scene where the pathway and foliage are painted in exact detail. Although the actual locale is not identified, this scene is reminiscent of the Hudson River School style of painting with which Herzog is also identified.
Painting depicts a solitary male figure standing along the shore. The thin layers of paint evoke a misty, overcast day with the figure standing perhaps on a tidal flat.
Whistler accompanied the Realist painter Gustave Courbet in a late summer painting campaign along the Normandy coast, in the resort town of Trouville. Although Whistler had embraced the tenets of Realism early in his career, by 1865 he had begun to evolve his own painting style that departed from the vigorous brushwork and heavy impasto of Courbet's example. This work, painted in the older artist's company, exhibits Whistler's characteristic thin veils of paint that evoke the atmosphere along the coastline rather than minutely describe it. The presence of the man implies no narrative story but is a precisely placed accent within the composition. Whistler's credo of "art for art's sake" has already shaped how he portrays a cloudy day at a summer retreat.