This is a black and white photograph depicting a rocky landscape scene. There are sharp cliff walls, striated with grooves, and two dirt roads with tire tracks. In the center portion, there is a grouping of seventeen piles of dirt, all of a similar size, and scrub like vegetation. The viewpoint is from above looking down.
This is a black and white photograph depicting two sides of a rural road running through the upper portion of the work. In the foreground, where the viewer stands, is a grassy hillside that slopes downward toward the road. There are some small skinny trees, large boulders and rocks. In the background there are low lying buildings, telephone poles and rows of cultivated trees.
This black chalk drawing on gray-blue prepared laid paper is vertically oriented. The piece is a still life of the contents of a pantry portrayed within a lightly indicated arched niche. A rabbit and a fowl hang upside-down from a string, dominating the composition. Below them are, from left to right, two vessels, a prepared fowl, long root vegetables, and a wicker basket.
Jean-Baptiste Oudry began as a portrait painter, but gained great success as a painter of animals, hunt and still life subjects. In the traditional manner, he created preparatory drawings to design a painting composition. In this still life drawing, "The Pantry," he arranges the fresh game so that it hangs above the prepared meat and other meal ingredients. In still lifes such as this, the artist frequently creates an intricate compositionby carefully arranging the elements. Here, Oudry deftly plays on the notion of pairs: two suspended game, a pair of bottles to the left, the pair of long-stemmed vegetables to the right; the basket, fowl, and leg of game are used to knot the pairs together compositionally. J-B-S. Chardin, later in the 18th c. will become the consumate master of this type of still life.
In this image there are two containers holding pink flowers. The larger of the two vessels in the foreground and slightly to the left of center. To the lower right of this vessel is an array of fruits (presumably grapes and peaches). The other smaller vessel is directly behind the fruits.
Park Choon Mook
- Special Selection from Korean National Art Exhibition (3 times)
- Invited Artist to National Contemporary Art Gallery
A color print depicting groups of women in kimono and men gathered under blossoming trees. The woman to the far right wears a dark kimono with an undistiguishable pattern. The next woman to her left wears a dark kimono with white dots. To her left is a woman wearing a kimono of multiple layers and single colors. She is surrounded by two girls with matching kimono. The final woman to the far left wears similarly colored material, though not as many layers. The man is wearing an outfit of geometric squares.
A group of one woman and two men is depicted in the back to the left while another group is entering the scene behind them. In gront of the large group are two men talking. Two men appear to be looking outside the screens of the building, and to the right of them is a group of three women and one man talking.
A panorama of courtesans and their clients under cherry trees. The woman near the center has the highest rank and is surrounded by her junior to the left and her two child atendants. The simply dressed woman is a maid. The man in the center is present or future client.
To the left is a second group of women led by a slightly lower ranked courtesan. The older woman on the far left is a retired courtesan. The young man on the right is carrying boxes with the name Kazusaya, the name of a popular brothel.
Goldweight in the shape of an upside-down, U-shaped fish, of unknown species, with a bifurcated tail, a series of small spiraling circles along its spine, a long neck with horizontal incisions and a stylized human head with eyes, nose and mouth.
This is an example of a figurative gold weight, as they were used among the Akan-speaking peoples of Ghana and Côte d'Ivoire to weigh out units of gold dust. Representations of fish are common in Akan gold weights; this particular example might represent an imaginary fish or the invisible spirit of the water itself. As a rule, the various spirits, gods, and divinities inhabiting the Akan universe, such as the spirit of the water, have no material form and cannot be seen. However, they have the ability to take on a human or animal form (or a combination of both) and make themselves visible to privileged members of the village community on special occasions.