In this image a worker and peasant face one another, each with his own horse carrying the fruits of his labor. The text reads "Mutual aid between the cities and the countryside."
This is a door picture, which stems from the tradition of posting two gods at the door to act as guardians. When the Community Party came to power, the gods were replaced with laborers and peasants, and the religious or folk aspect turned more propagandistic. In this image, the text reads "Mutual aid between the cities and the countryside."
Inscription of artist: On a winter day, 1621 in the reign of T'ien-ch'i, Tseng Ching painted this for Mr. Ch'in-t'ai (T'ien-ch'i Hsin-yu tung-jih Tseng Ching wei Ch'in-t'ai hsien-sheng hsieh); Seals of artist: Tseng Ching chih yin, P'o-ch'ên. Additional colophons and seals: Ch'ên Chi-ju (1558-1693) Colophon; Seals: Mei-kung, I-fu-ju; Ch'ên Kuan (act. 1554-1562) Colophon: signed, Han-yin lao-fu Ch'ên Kuan; Seals: Pai-shih tao-jen, Ch'ên Kung-tsan shih; Li Liu-fang (1575-1629) Colophon; Seals: Li Liu-fang yin, Li Ch'ang-heng; Lin Yün-feng (unidentified) Colophon: signed Wu-chün Lin Yün-fêng; Seals: P'u-yüan, Lin Yün-feng yin, Jo-fu chih; Ts'ao Hsi (act. late Ming) Colophon: signed Ch'ang-chou yu-ti Ts'ao Hsi; Seals: Lo-fu, Tzu-hsü shih; Fêng Wei-ch'i (unidentified) Colophon: signed Wei-ch'i; Seals: Fêng Wei-ch'i yin; Lu Kuang-ming (unidentified) Colophon: signed Yen-tang-ch'ang Lu Kuang-ming; Unidentified: Label: Portrait of Mr. P'an Ch'in-t'ai by Ming Tseng Po-ch'ên; K'ung-ch'ing kuan collection; remounted in 1900. Stamped in red ink on label: Han-ku chai chuang-chih; Seal: Wei-kung chien-ts'ang.
Painting of a standing male figure facing forward and holding a walking stick, against a blank background surrounded by an inscription, two artist’s seals, seven colophons and accompanying seals of contemporary scholars and artists.
In 1621, Zeng Jing, the most famous portrait painter in Chinese history, completed this portrait of Pan Qintai, a scholar from Suzhou admired by many seventeenth-century contemporaries.
A seated woman in late 19th c. dress is shown against an undescribed dark background; she looks directly at the viewer and rests her chin on her right hand. At the lower left is a flower-like form that is the artist's "butterfly" signature.
Thought originally to portray one of Whistler's sisters-in-law (Ethel Whibley), recent scholarship suggests that this may portray his wife, Beatrix, probably fairly early in their marriage (they were married in 1888).
A seated female faces towards the viewer. She is leaning back in her chair, her chin resting on her left arm; she holds papers in her right hand that are in her lap.
When Whistler married Beatrice Godwin, née Philip, in 1888 he became part of a close family circle that included his wife (who called herself Beatrix), her sisters and her mother. In 1894 Beatrix was diagnosed with cancer; Whistler was devastated. Many of the lithographs he drew of her seem to belie the reality of the situation. "The Beautiful Lazy Lady" is not an image of indolence but of illness. Whistler's portraits of Beatrix are touching and intimate, although their titles may indicate that he had trouble facing the reality of the diagnosis.
This image shows a figure set back a bit from the viewer, and standing at an angle facing toward the left of the page. The figure is dressed in a black suit with a white shirt, and is standing on a fairly plain ground with just a few black lines. The figure's hair and outfit blend into the black background.
According to the Tate's catalog, this image of Whistler was created for a book called Twelve Portraits. Nicholson created this image when Whistler was at the height of his celebrity, and so Nicholson portrays him as well-dressed and standing at a distance from the viewer. This image is meant to commemorate Whistler's reputation as the leading member of the Aesthetic Movement.
An aerial view of where water meets land. The image is full of texture representing the different landforms. The water creates a "C" curve on the right hand side of the image, while the sand creates a reverse "C" curve on the left side.
A highly abstracted photographic composition in which the viewer catches glimpses of a female nude seen in the stomach at center and the keyhole glimpse of a breast to the viewer's right; the overall composition is dark with patterned, textured overlapping fabrics
A highly abstracted figure of a reclining nude female holding a mandolin. The figure and the instrument share the same organic form and suggest sensuality and harmony.