A man in a powdered wig is shown in a bust-length pose, looking to the right. He is dressed in a silk coat with a blue and bronze-colored silk scarf at his throat.
Perronneau here depicts his friend, the engraver and printseller, Laurent Cars. Cars was admitted to the Académie Royale in 1733 as an engraver and he made numerous engraings after paintings by noted painters in France of the era. Around the time that Perronneau painted this portrait, Cars abandoned engraving to devote more time to selling engravings.
After de la Tour, Perronneau was known as one of the most accomplished pastellists in France during a time when pastel enjoyed great popularity. The freedom and verve of this work, particularly the iridescence of the sitter's coat and scarf and the intimate pose devoid of emblems of the sitter's status, are all attributes that are common with pastel portraits of the time.
Plaster sculpture of a standing male figure, his right hand resting upon a small column and his left hand holding the arm of a crouching African American female figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself.
This plaster cast was a maquette for a Civil War monument* and depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.
Flaring base with spherical food storage bowl on top. The base is cut with evenly spaced rectangular holes. The lid is incised with a repeating design.
Footed bowl was found in the Three Kingdom and Unified Silla. It is one of the ritual vessels. It can be found in every tomb of that age. It is almost grayish-blue stoneware. At the beginning, It didn’t have lid and perforation. From 4C lid and perforation was made. Footed bowl is divided Silla style and Gaya style. The lid and bowl of Silla style are thick and the leg is slim. The perforation is located in altering position. In contrast, the lid and bowl of Gaya style is very flat and the leg is thick. The perforation is positioned in parallel.
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.
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.”
Blind stamped on mount, l.c.: "Carlo Ponti/Venezia" Verso, printed in black ink, l.c.: "N. 62 Ponti dei Sospiri/Style de la decadence, bâti par Antonio Contino en/1597, plus que 10 metres sur la superficie du canal. Sans/importance historique, son nom est seulement une de cel-/les dénominations expressives, qui sont tant comunes/en Italie. la façade du palais ducal est la plus interessante, qu'il y a Venise dans le style de la re-/naissance"; r.c.: "The bridge of sighs was built by Antonio Contino/1597 in the style of the decline, more than 30 feet above/the canal. it has no reference to the political system/of the republic and is therefore without peculiar interest/for history. State prisoners as Carmagnola, Foscarini and/others were kept in the dungeons of the Doges palace/ whi st the prisons connected by the bridge of sighs with/the palace were used only for common offenders as/murderers, thiefs, incendiaries etc. The interior is divi-/ded into two passages, independent of one another./Lord Byron rescued it from oblivion in the 4th canto/of Child Harold's Pilgrimage, which begins:/I stood in Venice on the Bridge of Sighs/A palace and a prison on each hand, etc."; u.l. corner: "B530,6"
A view of a city along the edge of water sweeps from the foreground towards the right in the distance. Along quays, bridges and promenades can be seen groupoings of people walking and in conversation. Boats populate the water's edge: smaller boats in the foreground, larger multi-masted ships in the distance.
When Whistler first arrived in Venice, he took rooms in the Palazzo Rezzonico on the Grand Canal. Those rooms proved too expensive and after Otto Henry Bacher and Frank Duveneck arrived in Venice Whistler and Maud moved to rooms near San Biagio at the Casa Jankovitz, just off the Riva degli Schiavoni. Seen in reverse, this view looks up the Riva towards St. Marks, the domes and campanile tower of which are visible at the far right.
Goldweights are small objects cast from brass used to weigh out quantities of gold and gold dust. They are cast using a lost-wax casting technique, wherein wax is sculpted into the desired shape and a mold is pressed around the wax model. Then, the mold is heated and the wax drained out, leaving a void in the shape of the original wax model. Liquid brass is poured into the mold and allowed to set before the caster cracks the mold open and retrieves the finished goldweight.
The Akan gold fields were an important source of West African gold from antiquity through the 20th century. Gold was traded on a global scale through both the trans-Saharan and trans-Atlantic trades. The use of gold in long-distance exchange was facilitated by the use of standardized weight measurements. Goldweights, based on divisions of the Islamic ounce, were widely employed throughout the Akan area to measure the quantity and value of gold.
Akan goldweights take many shapes. Different sized goldweights measure different amounts and values of gold dust. Goldweights also vary by their aesthetic attributes. Geometric designs are common and are found in the earliest archaeological contexts. Later goldweights take many figurative forms, often linked to proverbs, jokes, and poems. Still other goldweights duplicate adrinka, a system of visual symbols used in cloth decoration.