This print is vertically oriented with gray markings. A cream border surrounds it and it has “MORNING” written below it. The lower half of the print has a busy square. There is a pyramid of people to the right, with lovers, beggars, and a woman warming her hands over a fire. The left has a woman in a gown and a small boy behind her. Beyond them in the distance is a large mass of people carrying posters. The upper half shows the tops of the buildings that line the square. The rooftops has a dusting of snow, and the clouds are dark as if it were an early winter morning.
Hogarth created several print series that satirize mores and values of 18th century England. In his suite, "The Four Times of Day," executed after a series of paintings, he employed humor, not just to comment on London society but to breathe new life into images marking the times of day. Hogarth translated portrayals of the times of the day from their pastoral origins to that of contemporary London. The pastoral, eternal and ideal here become urban, specific and comic. Each of the London sites shown in this series was considered disreputable in its day and the congested setting acts as a foil and context for the figures.
Morning- Set in Covent Garden, the traditional figure of dawn, Aurora, is replaced by a thin woman seen in profile. Rather than a springtime embodying new life, this scene is set in winter. Hogarth peoples his print with prostitutes and a darkened sky; Tom King’s Coffee House, a tavern with an infamous reputation, eclipses the church of St. Paul seen at right.
Titled, dated, and signed on plate, l.c.: Doctor Syntax Copying the Wit of the Window; l.l.: Drawn and etched by Rowlandson; top c.: London: Pub. Apr. 1, 1813 at R. Ackermann's Repository of Arts, 101 Strand Plate 6
This etching portrays a lively tavern scene in the 17th century Dutch Republic.The large room has rough plank walls and a stone floor. There is an open hearth on the right and a long table with a bench in the background. There are many figures engaged in various activities, but most are clustered around a seated man playing a violin. One man stands to watch, another, with arms upraised, is singing and a woman tends to a young child. The scene is depicted in great detail and there is lettering on the bottom of the print.
Dusart was a Dutch painter, draughtsman and printmaker. He was a student of Adriaen van Ostade (1610–1685) and shared his master’s preference for genre scenes of peasant life depicting humble folk dancing at festivals or enjoying themselves in a local tavern. In this work the scene is set in the large, rough timbered space of an inn or tavern where the men and women sing, dance, and drink.The inscription at the bottom of the image translates as, “The rustic enjoys sincerely, not darkened by hypocrisy,” perhaps an ironic comment referring to contemporary Dutch moralists who criticized the pursuits of peasants while themselves indulging in drinking and carousing.
Painting of a young boy sitting in front of a fireplace reading a book in a dark interior setting.
Johnson shows Abraham Lincoln as a young boy seated before a glowing fire reading a book in a dark rustic interior setting. Painted just three years after Lincoln's assassination, this intimate genre scene reflects widely held conceptions of Lincoln’s commonness and modest upbringing while emphasizing his humanity and high moral character through the virtue of his dedication to hard work and to his intense commitment to learning.
Dollhouse replica of a two-storey Victorian-style flat in the East End of London. The façade is red brick with white molding. The upper storey has two tall windows that face onto the street; the door into the flat is on the left, and to the right of it is a large bay window. The split-level interior holds a bedroom and parlor, both of which are decorated with wallpaper and furnishings, including cabinets, chairs, tables, fireplaces, and a canopy bed. Reproductions of paintings by Shonibare and Jean-Honoré Fragonard hang on the walls. A seal on the right-facing outside wall reads: “Yinka Shonibare, artist, lives here.”
Every year since 1988, art collector, software entrepreneur, and MoMA trustee Peter Norton has commissioned an art edition to celebrate the Christmas season and holidays.
Shonibare’s dollhouse was part of the 2002 Peter Norton Family Christmas Project, and can be purchased online for $750 at http://www.momastore.org/.
As in many of Shonibare’s other works, “Dutch-wax” dyed fabrics commonly found in Western Africa figure prominently in the dollhouse, from the upholstery of the chairs and bed-coverings to the wallpaper, and reflects the West African [Nigerian] heritage that has been at the heart of his work since he started exhibiting in 1988. Generally perceived as “authentic,” Shonibare uses such material as a way of deconstructing the more complex histories that determine these and other images of ethnicity. (Oxford art online)