Landscape painting depicting trees with a solitary deer in the center of the canvas
Subject Matter
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.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Landscape painting depicting trees with a solitary deer in the center of the canvas
Subject Matter
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.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A dark and stormy scene full of fog. There is a dark silhouette of a tree on top of a hill in the lower right hand side of the image, while the other mountains in the background are faded. The moon is lighting the sky and coming through the clouds and fog.
Inscription
signed and inscribed "Hayes" lower right hand margin
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Born La Rochelle, 30 November 1825, died La Rochelle, 19 August 1905. Bouguereau's father was in the olive oil trade and the son started out in the family business but from an early age had the desire to paint. From 1842 he was able to study part-time at the Ecole municipale de dessin et de peinture in Bordeaux. In 1846, Bouguereau moved to Paris where he enrolled in the studio of François-Edouard Picot at the Ecole des Beaux-Arts, and he won the Rome Prize in 1850 for his painting Zenobia Discovered by Shepherds on the Bank of the River Araxes. From 1850 to 1854 he worked in Italy, where he made extensive study of classical sculpture and of the great masters, particularly Raphael, Andrea del Sarto and Guido Reni. Giotto's work at Assissi and Padua also impressed him.
Bouguereau's style, once established, changed little throughout his life. Classical poses, high finish and restrained color are typical. He preferred traditional subjects drawn from history and mythology, but turned to lighter subjects in the 1870s. Extremely popular in the mid to late 19th century and consequently very wealthy, he fell out of favor among the intelligentsia in France who had responded to Charles Baudelaire's call for paintings of modern life and who found Bouguereau's paintings slick, sentimental and unoriginal. Bouguereau, in turn, rejected modernism and remained a staunch defender of the academic training he had received.
In addition to the nearly 1200 paintings Bouguereau completed, he decorated a number of buildings: in Paris, the Palais des Tuileries, the church of St. Clothilde, the church of St. Augustine, the old town hall, the Hôtel Bartholon and the Hôtel Péreire. At La Rochelle he decorated the cupola of the chapel dedicated to the Virgin at the cathedral, and the Hôtel Monlun.
Among the many decorations he received, Bouguereau was named Chevalier de la Légion d'Honneur in 1859, Officier in 1876, Commandeur in 1885 and Grand-Officier in 1903. He received a chair at the Ecole des Beaux-Arts, became a member of the Académie des Beaux-Arts in January 1876, and was president of the Association des Artistes, Peintres, Architectes, Graveurs et Dessinateurs.
He was married twice: first to Marie-Nelly Monchablon, then to Elisabeth Gardner.
Sources:
Bénézit, E. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs. Paris: Gründ, 1976, vol. 2; Balteau, J., M. Barroux and M. Prévost, eds. Dictionnaire de Biographie Française. Paris: Letouzey et Ane, 1933-, vol. 6; Thieme, Ulrich and Felix Becker, eds. Allgemeines Lexikon der Bildenden Künstler. Leipzig: Seeman, 1907-1950, vol. 4; Turner, J. ed. The Dictionary of Art. New York: Macmillan, 1996 , vol. 4.
Painting of a woman holding two sleeping nude babies, wearing white fabric draped over her head and shoulders with abundant blue-green fabric wrapped and loosely gathered around the rest of her body standing in front of a lush background with areas of blue sky peaking through the foliage.
Subject Matter
Charity was a popular theme for many 19th-century artists and a subject, which Bouguereau revisited throughout his career. He studied the work of Renaissance masters and was greatly influenced by Classical and early Italian Renaissance art, drawing much of his subject matter from mythological, classical and biblical stories. In “Charity” the carefully arranged poses, highly finished surface, restrained yet rich palette, and dramatic use of light, which are hallmarks of Bouguereau's style, serve to idealize and ennoble the subject.
Label Copy
March 28 2009
Charity was a popular theme for many nineteenth-century artists and one that Bouguereau revisited throughout his career. Along with faith and hope, it is one of the three Christian virtues, defined as love of God or the love of one’s neighbor for the sake of God. This virtue was often personified by acts of mercy—such as clothing the naked or nursing the sick—or, as here, by a mother with multiple children.
All of Bouguereau’s paintings were meticulously planned and executed: each was preceded by an initial oil sketch and numerous pencil drawings from life, and his incredible technical skill is evident in the precise drawing, the clarity of the forms, and the flawless flesh tones. His paintings are also characterized by their “licked” finish, painstakingly achieved by adding extra oil medium to the paint, which was applied in thin glazes with a coat of varnish between each layer. The result was a surface so smooth that individual brushstrokes are invisible.
Bouguereau was one of the most successful artists of the last decades of the nineteenth century, and his paintings were especially popular with Americans, who often bought them as soon as they were completed.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A group of travellers moves along a path at the foot of the mountains that grow upward, dominating the majority of the pictoral space. The common technique using small black dots occurs throughout the painting, accenting mountain edges, tree branches and roots. A building can be seen peeking out from behind the mountains in the lower portion of hte painting.
Subject Matter
It is common in Chinese ink painting to create works in dialogue with past masters. The dark jagged edges of the pine trees and rounded looming mountaintops recall the style of master painter Guo Xi and his famous work Clearing Autumn Skies over Mountains and Valleys. Active in the Northern Song Period (960–1217), Guo Xi was passionate about the need for painters to be in communion with nature in order to truly represent space and changing phenomena.
Label Copy
It is common in Chinese ink painting to create works in dialogue with past masters. Although the artist of this work is unknown, the dark jagged edges of the pine trees and rounded looming mountaintops recall the style of master painter Guo Xi and his famous work Clearing Autumn Skies over Mountains and Valleys in the collection of the Freer Gallery of Art. Active in the Northern Song Period (960–1217), Guo Xi was passionate about the need for painters to be in communion with nature in order to truly represent space and changing phenomena. He is most famous for his treatise on landscape painting entitled Great Message on the Forests and Rivers. In it, he writes:
“Wherein lies the reason that good men so much love landscapes? It is because amid orchards and hills a man has ever room to cultivate his natural bent… haze and mists, saints and faeries—for these man’s nature pines eternally, and pines in vain. Now comes a painter, and by his skill all these things are suddenly brought to us. Still in our home, stretched on the divan, we hear the cry of gibbons by many streams, the song of birds down many valleys; while our eyes are flooded by the gleam of hills, the hues of falling streams.”
(Chinese Galley Rotation, Fall 2010)
Gallery Rotation Fall 2010
Traveling in Autumn Mountains: Landscape
in the style of Guo Xi
China, Ming Period (1368–1644)
16th century
Hanging scroll, ink on silk
Gift of Dorothy Dunlap Cahill, 2002/2.354
It is common in Chinese ink painting to create works in dialogue with past masters. Although the artist of this work is unknown, the dark jagged edges of the pine trees and rounded looming mountaintops recall the style of master painter Guo Xi and his famous work Clearing Autumn Skies over Mountains and Valleys in the collection of the Freer Gallery of Art. Active in the Northern Song Period (960–1217), Guo Xi was passionate about the need for painters to be in communion with nature in order to truly represent space and changing phenomena. He is most famous for his treatise on landscape painting entitled Great Message on the Forests and Rivers. In it, he writes:
“Wherein lies the reason that good men so much love landscapes? It is because amid orchards and hills a man has ever room to cultivate his natural bent… haze and mists, saints and faeries—for these man’s nature pines eternally, and pines in vain. Now comes a painter, and by his skill all these things are suddenly brought to us. Still in our home, stretched on the divan, we hear the cry of gibbons by many streams, the song of birds down many valleys; while our eyes are flooded by the gleam of hills, the hues of falling streams.”
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Descendant of Seifû Yohei (1803-1861), a late Edo period Kyoto potter, who specialized in cobalt underglaze decoration (sometsuke), as well as white (hakuji) and gold and enamel (kinrande) porcelains. The 2nd generation head of the family developed white porcelain relief decoration techniques. His brother-in-law became the third generation head of the family (i.e. the present artist) and continued to make fine artist. In 1892, Seifû Yohei III was honored by the designation of court artist (teishutsu gigei-in). [Adapted from Biographical Dictionary of Japanese Art.]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
It is a pink silk crepe kimono with wax-resist patterns, hand-painted design and metallic threads embroidery. The kimono is in full length and has elongated sleeves. The fabric is dyed with pink, leaving the family crest under the collar and the floral design part white. The red scale pattern is added using wax-resist technique. Then the design of multiple kinds of plants is hand-painted with white, red, yellow, and pale and blue green colors. There are mix of fall and winter flowers and trees: nandin on the left sleeve, plum, chrysanthemums, thistles, amaranths, camellias and narcissus on the front and back, makino (Chloranthus glaber, with red berries) and more camellias on the right sleeve. Embroidery is added in various metallic threads around the contours of flowers and leaves.
Subject Matter
Flowers and trees represented in this kimono are traditionally considered fall and winter plants. The kimono is designed to be worn in these seasons. The “winter” plants such as nandin, camellias, narcissus, and plums are auspicious symbols; it is possible that this kimono was originally made for the New Year celebration.
Label Copy
These magnificent kimono were created by Minagawa Gekka, one of the greatest innovators in modern textile art. Gekka’s work is characterized by exotic motifs and complex techniques. Here, he drew the bursting tropical flowers and the family crest in paste and then dyed the fabric with base colors. Next, he added the crackled-ice pattern using an age-old wax-resist technique. After the paste was washed away to expose the white silk, he hand painted the flowers in colorful shades (white lines around the patterns are unpainted). Finally, he added embroidery in various metallic and velvet threads.
The original owner of these kimono was a pioneering female executive in mid-twentieth-century Tokyo who ran a successful real estate business. She and her four sisters ordered their kimono from prestigious shops that dealt with Kyoto manufacturers, and they often wore striking identical Gekka outfits.
(Label for UMMA Japanese Gallery Opening Rotation, March 2009)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This is a colorful abstract print with geometric shapes in blue, yellow, green and red outlined in black. There are also three white areas with black line drawings that depict a plant in a flower pot and two cypress trees in the bottom section and a landscape with mountains and a yellow moon in the upper right portion.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This portrait painting shows a full-length, life-size figure of a man. He is standing on the top of a mountain against the background of a sky with dark clouds and a rocky mountain range. He is facing the viewer but his gaze is directed to the right. He is dressed in a French military uniform of the Napoleonic time period, including black leather riding boots, a sabre and a large black cloak that billows in the wind. He holds his hat in his hands. His uniform decorations and medals are shown in great detail.
Subject Matter
Gérard painted this portrait of General Maximilien Foy after the death of the sitter, who was the painter's friend, in 1825. Maximilien Foy was a distinguished French general and statesman during the early 19th century. He served in several campaigns, including the Pennisular War and Waterloo, and was named a Baron by Napoleon in 1810. After the fall of the Empire, Foy retired to civilian life to write a history of the Pennisular War. He was elected to the Chamber of Deputies in 1819 where he became a popular orator. Gérard presented this painting to Foy's widow and refused payment for it.
Label Copy
March 28, 2009
François Gérard was one of the leading painters of the Napoleonic era in France. Throughout the 1790s he regularly exhibited at the official Salons and won a reputation as an outstanding portrait painter; he received many important commissions for paintings from Napoleon, his family, and his circle. This posthumous portrait of Maximilien-Sébastien Foy, a distinguished general and statesman, shows Gérard at the height of his powers. Foy is depicted standing, in full military dress—the very embodiment of an heroic leader—on a precipice in front of a dark and brooding landscape. The light in the painting emphasizes Foy’s face, capturing his features as well as the exquisite gold braid of his uniform. The general, who led Napoleon’s campaign in Spain, looks to the right, with an assurance that suggests he is in complete possession of the surrounding territory. His bold stance is matched by the freedom of the brushwork, particularly that of the landscape. The cloak that both envelops and animates his figure is reminiscent of the one used by Jacques-Louis David—one of the premier artists in France and Gérard’s former teacher—in his famous portrait of Napoleon crossing the Alps at the St. Bernard Pass. Though the portrait was commissioned by Foy’s widow, Gérard, who had been friends with Foy, refused payment from her.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A black and white aerial landscape photograph of a long and winding mound land formation in the shape of a large snake. The serpent-like mound is surrounded by trees.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
It is a vertically long, rectangular shaped vase. The body is slightly tilted; its four corners are shaved from the top to the bottom. The clay color is orange-yellow; the body is glazed with porous, milky white ash glaze. The bottom edge of the body and the bottom are unglazed. It has no foot.
Subject Matter
The vase is perhaps intended to have a single flower and to be displayed in a tea room alcove.
Label Copy
Miwa Jusetsu
Japan, b. 1910
Vase
Showa period (1926–1989)
circa 1960
Stoneware with feldspar and ash glaze
Gift of the artist, 1963/2.65
Tea bowl
Showa period (1926–1989)
circa 1960
Stoneware with feldspar and ash glaze
On loan from John and Susanne Stephenson
The Hagi kiln was founded by potters brought to Japan in the late sixteenth century following the powerful feudal lord Toyotomi Hideyoshi’s invasions of Korea. In 1663, Miwa Kyûsetsu was summoned to be the official potter of the kiln and for over 400 years, the Miwa family has produced fine tea wares from it, continuing the Hagi tradition originated by their ancestor.
Miwa Jusetsu, head of the Miwa family from 1967 to 2003, is internationally known for his highly innovative ceramics. The rich, white glaze seen here, called Kyûsetsu white, was developed by Jusetsu and his brother, Miwa Kyûwa (1895–1981). The sharp, modern structure of the vase also has no precedent in earlier Hagi products.
(Turning Point exhibition, Spring 2010)
The Hagi kiln, on the westernmost shore of Honshû Island, was founded by a Korean potter—one of many skilled Korean craftsmen forcibly expatriated to Japan by Japanese armies that had invaded Korea in the late sixteenth century. Taking the name Miwa Kyûsetsu, he made tea wares for the exclusive use of the local military leader. For 400 years, his descendants have sustained the tradition of Hagi ware.
The current head of the family (known to many Michigan potters as Miwa Setsuo) is internationally known for his highly innovative ceramics, in which the Momoyama period legacy is more a vestigial memory than an active presence. The rich, white glaze seen here, known as "White Hagi," was developed only recently, by the previous head of the Miwa line. The self-consciously modern shape of the vase has no precedent in earlier Hagi products.
Exhibited in "Japanese Costumes & Ceramics, Past & Present," October 2001 February 2002. Maribeth Graybill, Senior Curator of Asian Art
The Hagi kiln was founded by Korean potters who relocated to Japan in the late sixteenth century. In 1663, the local daimyo (feudal lord) summoned their descendent, the first Miwa Kyûsetsu, to be the official potter. For 400 years, the Miwa family has produced fine tea wares, sustaining the Hagi tradition.
Miwa Jusetsu (the former head of the Miwa family) is internationally known for his highly innovative ceramics. The rich, white glaze seen here was developed only recently by Jusetsu and his brother, Miwa Kyûwa (1895–1981). The sharp, modern structure of the vase has no precedent in earlier Hagi products.
(Label for UMMA Japanese Gallery Opening Rotation, March 2009)
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The Hagi kiln was founded by potters brought to Japan in the late sixteenth century following the powerful feudal lord Toyotomi Hideyoshi’s invasions of Korea. In 1663, Miwa Kyûsetsu was summoned to be the official potter of the kiln and for over 400 years, the Miwa family has produced fine tea wares from it, continuing the Hagi tradition originated by their ancestor.
Miwa Jusetsu, head of the Miwa family from 1967 to 2003, is internationally known for his highly innovative ceramics. The rich, white glaze seen here, called Kyûsetsu white, was developed by Jusetsu and his brother, Miwa Kyûwa (1895–1981). The sharp, modern structure of the vase also has no precedent in earlier Hagi products.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Ten-panel screen depicting similar mountain scenes over changing seasons. A spring scene begins on the right, gradually changing over the ten images to winter on the left. In an upper corner of each scene is a corresponding seasonal poetic inscription. These images are created using ink and color on paper, which was mounted on the upper two-thirds of each panel of the screen.
Subject Matter
Mountain scene over depicted on ten folding screen panels over the changing seasons.
Label Copy
This large ten-panel screen depicts the passage of seasons in the mountains. The landscape is read from right to
left, beginning with two panels showing budding trees on mountains and rivers obscured by spring mist. The next three panels depict the lush greenery of summer, followed by three contrasting panels of colorful autumn leaves.
The year ends with the last two panels, which show winter’s desolate snow-capped peaks. Poetic inscriptions appropriate to each season enhance the views.
Yi was born poor in South Chungcheong Province but studied free of charge as a youth under An Chung-sik (1861–1919), a member of the last generation of Korean court artists who painted landscapes in the Chinese manner as
well as “true-views” of actual Korean scenery. Yi collaborated and prospered during the Japanese occupation of Korea, and elements of Japanese Nihonga painting—such as soft coloring, atmospheric washes, and delicate contours—may be seen
in this work. Although the scenes depicted are unspecific and rendered with traditional “axe-cut” brushstrokes, Yi’s affection for his native landscape and his emphasis on capturing its spirit through the seasons is also apparent.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
"One of two Shigaraki potters most active in the modern movement to recreate the authentic appearance of medieval Shigaraki ware through the use of appropriate materials and firing techniques. Rakusai's importance to the development of contemporary ceramic production in Shigaraki parallels that of Kaneshige Tôyô and Fujiwara Kei in Bizen or Nakazato Muan in Karatsu. ... In 1964 Rakusai was honored, along with Ueda Naokata IV (1899-1975) with the designation of Important Intangible Cultural Property of Shiga Prefecture." [Louise Cort, Curator's notes on Sackler Art Gallery object #S1998.157, 5 October 1998]
"Rakusai also moved away from copies of Momoyama-period forms. In 1958 he won the grand prize at the Brussels Worlds Fair for a large medieval-style jar with innovative impressed-rope and combing decor (Cort, _Shigaraki Potters' Valley_ 1979, fig. 51). Rakusai hosted several American 'apprentices' in his workshop in the 1960s and 1970s, including John Stephenson and Peter Callas." [Louise Cort, Curator's notes on Sackler Art Gallery object #S1998.157, 3 May 1999]
Note: John Stephenson is a potter living and working in Ann Arbor, MI. — M. Graybill, 10/2001.
26.67 cm x 12 cm x 12 cm (10 1/2 in. x 4 3/4 in. x 4 3/4 in.)
Physical Description
The vase uses Shigaraki clay and the wood-firing process. The deformities and imperfections are intentional, and in Iga style. It has a lopsided lip edge at the top, with a deep indentation circling the vase just below it. The texture of this piece is splotchy and ridged, and the colors are earth tones, ranging from tans to dark, forest greens.
Subject Matter
This is a flower vase made at the kiln in Shigaraki.
Label Copy
Takahashi Rakusai III
Japan, 1898–1976
Vase
Showa period (1926–1989)
1960–63
Stoneware with natural ash glaze
Museum purchase, 1963/2.77
Plate
Showa period (1926–1989)
circa 1960
Stoneware with natural ash glaze
Museum purchase, 1963/2.76
Takahashi Rakusai III, who came from a long line of Shigaraki potters, employed the same clay and wood-firing technique used in the jars and vases prized by tea masters of the Momoyama period (1583–1615) to create powerful and whimsical wares for the modern era. Although this vase has a classic form, Takahashi achieves a dynamic effect through the combination of rough surface and green ash glaze. The rectangular plate is more playful: the dots on the unglazed, scorched top are areas that were protected from the flame by cylindrical clay spacers.
(Turning Point, Spring 2010)
Momoyama pots could be both an inspiration and a burden for twentieth-century Japanese potters. One way they found to express personal creativity within tradition was to mix and match allusions to different regional models. (An imperfect analogy would be contemporary furniture in a "Southwestern" style done in mahogany, or a Chippendale reproduction piece in teak.) In this flower vase, Takahashi Rakusai exploits all of the potential of Shigaraki clay and the wood-firing process: compare the texture and color of the vase to the sixteenth-century Shigaraki jar on the platform at right. The overall shape and deliberate deformities, however, are copied from the wares of the neighboring kiln at Iga.
Takahashi welcomed many American potters to his Shigaraki studio over the years and his work is well represented in Michigan collections.
Exhibited in "Japanese Costumes & Ceramics, Past & Present," October 2001-February 2002. Maribeth Graybill, Senior Curator of Asian Art
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Takahashi Rakusai III, who came from a long line of Shigaraki potters, employed the same clay and wood-firing technique used in the jars and vases prized by tea masters of the Momoyama period (1583–1615) to create powerful and whimsical wares for the modern era. Although this vase has a classic form, Takahashi achieves a dynamic effect through the combination of rough surface and green ash glaze. The rectangular plate is more playful: the dots on the unglazed, scorched top are areas that were protected from the flame by cylindrical clay spacers.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
TOP IMAGE. On the bottom right appears a river, with at least three boats moored against her banks. Along the shore, in the central bottom area of the image, is a large groups of figures, potentially a local market area. In the center of the image is a plank bridge with figures carrying bundles, and the bridge (ramp) leads from the center to the top left, where it connects with a large brink palazzo-type structure. In the central background stands a large thatched and planked group of dwellings. A pile of barrels fill the bottom left corner.
BOTTOM IMAGE. A three-arch stone bridge with crossing figures spans the image from center right edge to the bottom left corner. Underneath pass small rapids with rocks. At the bottom right corner is a group of three, perhaps with a fishing pole; the left and right figures kneel, while the central figure stands with pole in hands, pointing up. A cross - perhaps a medieval pilgrimage marker - stands at the left-hand end of the bridge. On the right-hand side behind the bridge are tall stone pediments, perhaps dwellings or fortress-like walls. A distant part of the river and its structures can be seen in the left-hand corner.
Subject Matter
TOP IMAGE. A genre market scene on the banks of a river, with houses and architectural structures.
BOTTOM IMAGE. A three-arch bridge over small rapids with travellers and fisherman. Architectural structures in the background and on the remote river banks in the bottom left corner.
Label Copy
Franz Edmund Weirotter
Austria, 1733–1771
Town Along the River (Stadt am Fluß)
River Landscape with a Withered Tree on a Rock (Flußlandschaft mit dem verdorrten Baum auf dem Felsen)
From the folio 12 Views of Normandy (XII Vues de la Normandie)
1760–1761
Engravings
Gift of the Ernst Pulgram and Frances McSparran Collection, 2007/2.116
Inscription
5 slight tears on left edge, indicating the leaf's former book binding.
TOP IMAGE. Artist signature in plate, top right corner: F. E. Weirotter, fecit
Artist signature in plate, bottom left corner: Weirotter
Numeral beneath image, bottom right corner: 2
BOTTOM IMAGE. Artist signature in plate, bottom center: F. E. Weirotter, fecit
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
