This manuscript page contains a column of Latin text surrounded by generous margins. A pair of slender flowers with small green leaves run the length of the text along the left margin. Three decorated initials appear on the left edge of the text block. Each initial is painted gold on a pink and blue ground with white scrollwork and enclosed within a frame. Two rectangular line-fillers, colored pink and blue with white scrollwork, appear in the right half of the text column.
This illuminated manuscript page was taken from a book of hours, a type of personal devotional book that enjoyed widespread popularity from the thirteenth through fifteenth centuries and contained sets of daily prayers, or "offices." The text here comes from the Little Office of the Virgin Mary, who was a central figure in Christian devotion during this period.
It is a fragment of roof-end tile with apsara design in relief.
Apsara design was appeared in Three Dynasty period. It can be found on the ancient tomb mural or espically on the Buddhist temple bell. It was usually carved in the form of bilateral symmetry on the roof-tile.
This ocean scene shows a cliff on the left half of the composition, with the ocean and some birds on the right. The cliff is darker towards the bottom, and the strip of ocean is in the bottom third of the composition. There are five birds; three are more distinct, while the other two a smaller and fainter.
The Princess is standing with one gloved hand hanging by her side and the other, ungloved, resting on the banister of the stairs. In front of her, the stairs rise to a large stone building (possibly Windsor Castle). In the background is a deep landscape with figures in the distance at the right.
A young woman at the left stands at the threshold of a stone doorway; in the interior beyond her, a woman in a white cap is preparing a jar at a desk or counter. Above the desk is a row of jars on a shelf.
"La Marchande de Moutarde" is an early example of Whistler's interest in showing views through the frames of doorways. Here the sense of depth from the threshold to the woman inside the room is minimized (especially compared with "The Kitchen") in favor of intense patterning of all the surfaces--an approach that tends to flatten space. The composition is based on two drawings executed in Cologne, Germany during the walking tour Whistler took w/ Delannoy.
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.