This terracotta is modeled in the shape of a ram’s head. The snout is softly modeled by hand and his two horns form coils to either side of his head. A decorative band with punch-marked floral decoration on it divides the snout from the area of the head with the spiral horns. The horns are decorated with lines and encircle a donut shaped element in the center. A floral motif is between the two above the decorative band and other punch-marked floral forms decorate his snout at the top and at each cheek. His eyes are incised in a diamond pattern with a circular center and his nostrils are simple indentations.
Throughout the history of Indian art, animal figures were often depicted with a sense of naturalism, as seen here. With very simple means the artist has given us a convincing figure of a ram’s head. He has modeled the clay by hand, using a sharp tool to punch decorations, much as one would stamp designs into leather.
A small, thin silver disk. In the center are seven convex circular protrusions (one in the center surrounded symmetrically by the six others) that appear like balls set within individual depressions. There are other less uniform depressions surrounding the center design. An incised line runs around the circumference.
Casting of a sink stopper that Duchamp first designed by hand for his bathroom in Cadaqués, Spain. This everyday, handmade object was then reproduced in a series of one hundred. The piece demonstrates the meeting of art objects and the mundane,. It is also an example of ironic commercialization and artist self-representation. The International Numismatic Agency later released an edition of 300 as a collector's item, the Duchamp Art Medal.
This black and white photograph depicts a partial view of a nude woman's body set against a solid black background. The figure is facing away from the viewer showing only the left portion of her torso, thigh and arm.
173.99 x 129.54 x 3.81 cm (68 1/2 x 51 x 1 1/2 in.)
An image of a woman in the center, painted in red and pink with her mouth wide open and bright red short hair. The same woman is repeated throughout in the same colors, but mouths are shut. The background is very busy with brown and black swirls all over.
A building with an arched doorway, windows at the center right, and the beginning of a flight of stairs on the right acts as architectural foils for the figures and a cart and horse (hansom cab?) arrayed in front of the building or grouped in the dark entryway.
The Way's printing offices on Wellington Street faced the back of the Gaiety Theatre and Whistler several times drew the stage door of the theatre from the Way's establishment. In this way, technical innovations introduced by the Ways--such as the use of transfer paper--could be experimented with immediately by Whistler.
"Gaiety Stage Door" was published in the portfolio "Notes" in 1887.