This photogravure shows a hazy gray and black outdoor scene. There is a dark cloaked figure depicted in silhouette and a suggestion of trees and vegetation. In the background is a misty gray hillside and expansive sky.
In 1908, Edward Steichen received an invitation from Auguste Rodin (1840–1917) to photograph his controversial sculpture of the French writer Honoré de Balzac (1799–1850). Rodin’s plaster model for a monument to this celebrated author had been rejected by the society that commissioned it and ridiculed in the press when it was exhibited at the Salon of 1898. Ten years after the scandal he still hoped the Balzac might be understood by its critics and that Steichen, whose work he admired, could help to achieve this.
Rodin recommended that the plaster sculpture be photographed at night in moonlight and Steichen agreed. Photographing in the dark requires leaving the film exposed for long periods and Steichen experimented with times that ranged from fifteen minutes to an hour. Of the resulting images, this is one of three that Steichen thought the most successful. When Rodin finally saw a set of the prints a week or two later he said, “You will make the world understand my Balzac through these pictures. They are like Christ walking in the desert.”
Square black and white photograph showing head, neck and shoulders of a man posed against a blank wall. He is an older man with white curly hair. He is facing toward the viewer, but his eyes gaze to the left as if he is looking at something beyond. His hands rest on either side of his face and his expression is contemplative.
This subject of this photograph by Annie Leibovitz, a famous portrait photographer of celebrities, is Merce Cunningham (1919-2009). He was an American dancer and choreographer who uniquely collaborated with artists of other disciplines,such as musicians, painters, designers and architects, and had a profound influence on modern dance. His choreographic innovations included the abandonment of musical forms, narrative, and other conventional elements of dance composition and he stated that he felt the subject of his dances was always the dance itself.
Buddha, sheltered by the Naga king Mucalinda: a scene from the life of historical Buddha. When the Buddha-to-be sat down under a Bo tree in Bodh Gaya to meditate for a period of 49 days, a great storm arose, but his concentration was unbroken. To keep him safe from the flood and the driving rain, the Naga (serpent) king Mucalinda coiled his body to life him above the waters, and spread his cobra hood to provide shelter. Images of Buddha sheltered by Mucalinda are common in peninsular Southeast Asia, where snakes were tradiionally revered as fertility symbols.
The Buddha in bhumisparsa mudra (the gesture of touching the earth with his right hand, palm inward), signaling his victory over Mara. In Southeast Asian contexts, this hand gesture is often referred to as Maravijaya mudra, or "victory over Mara."
Inscribed: in plate, in margin below image: Né en 1615. Inscription in plate: SEBASTIAN BOURDON/ de Monpellier [sic] Peintre ordinaire du Roy, Recteur en son /Académie de Peintre et de Sculpture /gravé par Laurent Cars pour sa réception à l'Académie en 1733.
A young man with long hair looks over his shoulder at the viewer through an illusionistically described stone octagonal aperture. A heavy satin cloth cascades from his right shoulder towards the viewer and through the opening. On the near side of this rusicated aperture are the palette, brushes, drawing folio and a book, indentifying the sitter as an artist, the identification further secured by the canvas on an easle seen behind the figure.
In order to be admitted to the Académie Royale, portrait engravers were required to create two engraved portraits. This portrait of the painter Sébastien Bourdon was one of the prints Cars produced as his reception piece to gain admittance to the Académie as an engraver. The conventions that governed official portraiture from the period are evident in this engraving, which is after a painting by Hyacinthe Rigaud now in the Städelsches Kunstinstitut, Frankfurt. The figure is framed within an octagonal stone frame surrounded by the materials of his profession: easel and canvas, paper, palette, brushes, and a book. Another feature common to these portraits was the use of drapery, either inside the framework or outside of it. Cars’ ability to denote different textures is evident in this work: the velvet coat and waving hair contrast with the sheen of the satin drapery, which cascades across the stone frame forward into the viewer’s space.
A panel portrait of two men and two women. One man plays a mandolin while the other watches one of the women. The woman he is watching is standing by the table and holding a dog. The second woman is sitting next to the mandolin player and reading.
This is a black and white photograph with an elevated point of view. It depicts a thick diagonal white line on pavement with a figure standing on the left beside it. The figure is only partially shown with a dark silhouette, but details of his shoe, placed parallel the to white line, are precise. The figure holds a long thin plank of wood at his side that mimics the diagonal white line.
Ralph Gibson is well known for publishing his photographs in book form and he created his own company, Lustrum Press, in New York City in 1969.This work is from "Déjà-Vu" (1972), one of the books that established his career as a creative photographer. "I embrace the abstract in photography and exist on a few bits of order, extracted from the chaos of reality. ["Light Years" 1996]
A highly decorated wooden chair with a single arched backing rod for support. There are large bulb-like posts on top with graphic decorations throughout. There are large metal domed hardware on the seat and upper posts.