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.
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.
plate 3 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
A color photograph image of a group of small white flowers growing from the moss-covered roots of a tree, which is out of focus. The fresh flowers are surrounded by dry leaves that had fallen from the tree.
This winter landscape scene is painted in light pastel colors including, white, blue, pink and gray. The artist has used vigorous brushstrokes and the paint has been applied thickly on the canvas. The scenery is not painted in detail but done in an impressionistic manner.
In the foreground, a snow-covered hill slopes downward from the upper right side of the composition to the lower left. There is one tall tree that frames the scene on the far right and several others clustered on the left. In the middleground area, seen through the branches of these trees, there are factories and buildings of a town. Also, there are figures ice skating on a pond, at the far left of the composition. In the far distance, seen over the edge of the slope, is the skyline of a city, the shapes of skyscrapers silhouetted against a cloudy sky.
This landscape painting by Henry Reuterdahl portrays a winter scene of the city of Weehawken, New Jersey, which lies across the Hudson river from Manhattan. Reuterdahl has painted this view from a point on the cliffs that give the city its name. (In the Lenape indian language, "We-awk-en" means "rocks that look like rows of trees"). He shows the terrain of the snow-covered cliff in the foreground area and provides a view of Weehawken below, from the ice skating pond to the smokestacks of the factories along the river. In the far distance, can be seen the bluish skyline of New York city can be seen silhouetted against a cloudy winter sky.
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.