Black line representation of a human head and face, facing the viewer. The head is oval-shaped with vertical parallel lines. The short hair of the person is represented by thick dots and fine curved lines. The nose is formed by straight, vertical lines. Eyebrows are drawn with thick, black lines. "We shall Overcome" is printed in a brown-orange ink across the top of the sheet.
The word “love” printed in capital letters in red on a blue and green background with a black border or frame
”LOVE” exhibits Indiana’s use of vibrating color and simple formal configurations. It was originally designed as a Christmas card commissioned by The Museum of Modern Art in 1965, and reflects Indiana’s Pop-inspired fascination with the power of ordinary words, and is filled with spiritual, social and political overtones, especial when looked at in the historical context of the 1960s.
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
Mixed media assemblage consisting of goggles, rusted sheets and pieces of metal, a padlock and two rusted bells hanging from a chain mounted on a wooden board with screws.
Created when Vargas was a student at U of M, “Michigan Worker” draws on the tradition of the found object and junk art, as well as a figurative tradition, which he evokes by using industrial materials representing the working class Michigan automotive worker.
In this nighttime view down a street, buildings along the left-hand side of the street are shown in with sharp recession into space. A solitary figure is seen in the shadows on the left-hand side half way down the street. The sky is darkened with parallel horizontal hatching lines. The only source of light is a lantern on the wall of the right side of the street. Dark shadows fall across the buildings on the left side.
"Street at Saverne" is one of the French Set etchings that is based on a watercolor executed during the walking trip that Whistler and Ernest Delannoy made in the summer of 1858. Night views, known as "Nocturnes", became one of Whistler's signature forms and dominate his views along the Thames during the 1870s as well as views in Venice and Amsterdam in the 1880s. The watercolor on which this etching is based is, in fact, a daytime view of Saverne; when making the print Whistler transformed this into a night view, thus becoming his first nocturne.
This painting shows the interior of a large prison room. There is a thick stone wall and iron grating. Three figures are the focal point of this composition. One man, in a dark blue cloak, is standing and faces two other men who stare intently at his face. One of them is seated with a leg iron, on a stone bench and the other leans on a stone ledge. They are are dressed in simple brown cloaks. The standing figure has a raised left arm and is gesturing with his hand outstretched toward the other figures.
This history painting depicts a scene from the Old Testament (Genesis, Chapter 40) in which Joseph tells the Pharoah's servants what their dreams foretell. The Bible story relates that while in prison, the chief butler and chief baker to the Pharoah were troubled by their recent dreams. Joseph interpreted the butler 's dream to mean that he would be released and returned to the Pharoah's service in three days. Joseph asks the butler to remember him when that happens so that he might be released from prison. Joseph then interprets the baker's dream to mean that he will be put to death by the Pharoah in three days time. The events happened as Joseph predicted, but the chief butler forgets him and he remains imprisoned.
The setting for this painting is the interior of a prison where Joseph, standing on the left, is shown gesturing toward the baker and butler who stare intently at his face.
This is one of a number of moving and powerful self-portraits Kollwitz produced throughout her career. Greatly affected by the sadness she suffered in her personal life along with the poverty and misery that surrounded her in the aftermath of World War I, this work resonates with the grief and loss she suffered after the death of her son in the war, and reveals both a sense of quiet mourning and solemn resignation.
This vertical image is of a waterfall flowing down the side of a hill. It is the middle of the waterfall and the upper and lower portions are not visible. The water on the right hand side appears to be stronger than the left, creating a larger splash.
This is a preparatory drawing of a group of putti that form part of the painted decoration of the dome of Florence cathedral. The most striking figures are the putti in the upper corners of the drawing who support an architectural cornice and a pair of putto that appear between them. One of these putti holds a shirt and his companion holds three dice. Myriad other putti are rendered more lightly to give the impression that they are positioned in the background.
Federico Zuccaro executed this drawing in preparation for the monumental fresco that he painted on the interior of the dome of Florence cathedral. The drawing was for the upper register of the western segment of the dome, where they form part of a Last Judgment scene. One of the putti holds Christ's robe and another the dice that were cast for it during the Crucifixion, much as putti in adjacent parts of the decorative scheme carry the other instruments of Christ's Passion, including the lance and crown of thorns. The two putti in the upper corners of the drawing seem to support the architectural cornice at the top of the dome, thus blurring the boundary between painted decoration and the actual architecture.
The colorful strips of brocade at the top and bottom of this panel feature a woven design of ivy and peonies entwined around cartwheels, bamboo, and stylized diamonds. A wide rectangular fragment of an obi (sash for kimono) lie at the center of the textile. It is an almost abstract design of boats tossed in a frothy sea. The warm, muted tones of the gold are matched in color selections of mauve, and muted purple, blue, and green threads.
Both the bold, clear design and the narrow width of the cloth suggest that these may have been part of the sash for a Noh drama costume.
The wide fragment of an obi (sash for kimono) is a superb example of float-stitch embroidery, in which long sections of untwisted floss are attached to the fabric only at the edge of the embroidered motif; here the float stitches are used for the boat sails. The technique is one that came to Japan from China in the sixteenth century.
Landscape colored with the bright hues of autumn. Pavilions are nestled among clouds and mountain forests. A rustic staircase appears between wisps of clouds and trees, winding up the slope next to waterfalls.
Chang Ku-Nien painted this scene about a year after he moved from Taiwan to Flint, Michigan. The inscription indicates it was a gift for his son and daughter. In the United States Chang seems to have been liberated from the idioms of traditional Chinese painting and his brushwork became more spontaneous, open and fluid. In this painting, he combines both old and new techniques. A figure with a staff walking towards the misty landscape evokes a recluse, an important subject in the centuries-long Chinese literati (amateur scholar-artist) tradition in which Chang was trained. The mountains in the upper left corner and on the middle right side are painted in the “boneless” style, that is, without obvious outlines—a practice that may be traced back to late Ming dynasty [dates] painting. Chang’s use of color, however, is quite modern. Here a brilliant sapphire that he began to use in the 1970s gives the mountains and pine trees a palpable sense of chilliness.