The foreground is trees which frame, in the distance, a church-like structure. On the right are two tree trunks with little foliage. The left side from the bottom and halfway up is darkened area. There are 3 distinguishable trees near the center of the image that are full of foliage. Just to the right of those trees is a tree just as big as the church-like structure.
Landscape image with trees in foreground and a city in the distance through those trees.
Three figures stand in the bottom left corner. The image is mostly tan and light blue except very dark in the center. The blue horizon line is in the top third of the image stretching from a cityscape on the left side to a sweeping hill on the right side. There is a small moon in the middle at the very top of the image.
An atmospheric landscape with figures in the foreground and a full moon over the city of Lausanne in the distance.
A woodblock print of men traveling on a brown-grey path through blue-green mountains. In the center, traveling to the viewer's left, two men carry a covered chair that contains another man in a blue robe, followed by a man wearing a blue robe and white oval hat who carries a pack balanced on a stick on his sholder. Two other men approach on the path from the distance (viewer's left).
A framed painting of a nude woman posed as if reclining against rocks in a small stream. The landscape she is in looks like a mountain valley; on either side of the painting are tall cliffs that come together as a river valley in the middle. The sky is dark and full of dark clouds, but in the distance rays of sunlight break through them to illuminate the distant cliffs and river.
The top third of the landscape image is the sky with two tower-structures silhouetted on the far right side. There is a structure in the middle of the image with a bridge connecting the cliffs. The bottom right corner of the image is darker and more blue than the rest.
Landscape of the gorge that traverses the ciry of Luxembourg surrounded by building structures along the cliffs and a city in the distance. He filled 30 pages of sketches of the dramatic setting in his sketchbooks and made numerous atmospheric guache and watercolor paintings, including this one.
Seals (6 seals total, 2 illegible, 4 legible): I(a). Seal just below artist's signatures is illegible. I(b). Collection seal immediately below seal I(a): Pao ch'uan, which is a pseudo seal, in the style of a Sung imperial seal. I(c). Collecter's seal at the lower left (of painting) below seal I(b): (Shang? Ch'iu?) Ch'en Ch'ung-pen shou-ts'ang-yin. (Ch'en Ch'ung-pen received a chin-shih degree in 1775.) I(d). Seal below seal I(c) is illegible. II(a). Collector's seal to the left of seals I(a)(b): Lou tung Pi Yüan chien-ts'ang, (Pi Yüan 1730-1797). III(a). Collector's seal at the lower right (of the painting): Ch'iu Fan shu-hua t'u-chang, (Pi Yüan 1730-1797).
This large hanging scroll depicts a man on a donkey traveling along a mountain pass, accompanied by two other men and surrounded by huge overhanging craggy cliffs on both the left and right sides in the background with several overlapping vertical layers.
In this large hanging scroll, a master on a donkey travels on a mountain pass, accompanied by two servants. The overhanging cliffs on both the left and right sides in the background have several overlapping vertical layers. This, along with Wu Wei’s vigorous and flourishing brushwork, substantially enlivens the landscape and provides an impressive sense of depth.
This print offers an expansive vista over a river valley bordered by high mountains in the distance. In the foreground a peasant sits on the ground hammering the blade of his scythe as another man leans against a tree and gazes into the valley. Boats, towns, and villages dot the landscape.
This print was made by Joannes and Lucas van Doetecum after drawings made by Pieter Breugel the Elder on a trip through the Alps. The artists exploit dramatic shifts in scale between the foreground figures in the lower right corner and the valley far beneath them to create a powerful impression of depth and distance.
Landscape with trees in foreground, valley in middle ground dotted with minute figures of sheep and a farmer with a team of oxen pulling well-filled haywain. Mountains in distance with a snow-capped mountain in center background.
“White Mountains” was a popular subject amongst 19th century Americans, who, stirred by the doctrine of Manifest Destiny, wanted patriotic emblems of an optimistic and expanding nation. Using the popular tenets of the sublime and the picturesque, Hodgdon juxtaposes an awe-inspiring snow-capped mountain in the distance with a lush valley just beginning to show evidence of a fading summer.