A muscular young male nude, seen in profile from the left, sits on a rock in a vaguely suggested outdoor setting.
By producing such finely painted studies of nudes, Ubaldo and Gaetano Gandolfi, the leading artists of eighteenth-century Bologna, perfected their skills at representing human anatomy. The brothers and their followers produced many similar paintings and numerous drawn studies of nudes as a fundamental part of their artistic training and practice. Here the model adopts a seated pose that creates an interesting articulation of limbs and muscles through the interplay of passages of light and shadow. Undoubtedly painted in a studio, the interior walls are dissolved into a hazy outdoor setting.
Ink sketches depict a large female profile in the upper left corner facing right, a female head in the lower center, a smaller female head in the right center facing upwards, and a smaller female profile in the left center facing downwards. There is empty space in upper right quadrant.
This sheet, cut from a larger sheet, features a study of a woman’s face in profile in the upper left. Her hair is bound. A nearly frontal view of another woman’s face is at the center bottom of the sheet. She looks down to her left and wears a jeweled headpiece or crown. Three other smaller and more lightly sketched heads also appear on the sheet, two along the left edge and one on the right.
The heads are all lightly drawn with a finesse characteristic of della Bella, one of the most talented and prolific draftsmen and printmakers of the seventeenth century.
The VENTE COROT mark in the lower left corner is placed within a path that runs from that corner diagonally up towards the right where it is blocked from view by the rocky terrain. There is a scribbling that extends vertically from the land in the center of the image and the darkest area is to the right of that. The left side of the image has much less variance in lines and weights.
Landscape pencil sketch of a path along a rocky terrain with trees or some structure in distance.
The Buddha, sheltered by the Naga king Mucalinda: a scene from the life of historical Buddha. When the Buddha-to-be sat down under a Bo tree in Bodh Gaya to meditate for a period of 49 days, a great storm arose, but his concentration was unbroken. To keep him safe from the flood and the driving rain, the Naga (serpent) king Mucalinda coiled his body to life him above the waters, and spread his cobra hood to provide shelter. Images of Buddha sheltered by Mucalinda are common in peninsular Southeast Asia, where snakes were tradiionally revered as fertility symbols.
This black and white photograph has a horizontal format depicting three headshots of men with their faces obscured. There are handdrawn forms- a cone on the face of one man and a hexagram (six-pointed star; Star of David), a tiny square and a square divided into four parts below the headshots.
This is a photograph of wall graffitti that was taken in Paris in 2001. Robert Beckley was a professor and Dean of the UM Taubman College of Architecture and Urban Planning. This photograph was displayed at an exhibition of his work at the Slusser Gallery following his retirement. His artist statement explains, "The abstract forms one can find on the walls of a city have become my canvas. The urban landscape is for me what the natural landscape is for others. The inessential background of the city becomes the foreground in my lens."
This half-length pastel portrait depicts a woman looking directly out of the portrait with her body turned slightly toward her right. She wears an elaborate diaphanous collar with lace fringes that is tied at the neck with a pink ribbon and a dress made of luxurious fabrics. While the face of the sitter is smooth and idealized, her clothing is rendered with meticulous attention to detail and texture.
In 1750 the sitter for this portrait had married John Proby, who in 1752 was created 1st Baron of Carysfort. This pastel is a copy of an identical work still in the Proby collection that accompanies similar portraits of John Proby and his two younger brothers.
Square black and white photograph showing head, neck and shoulders of a man posed against a blank wall. He is an older man with white curly hair. He is facing toward the viewer, but his eyes gaze to the left as if he is looking at something beyond. His hands rest on either side of his face and his expression is contemplative.
This subject of this photograph by Annie Leibovitz, a famous portrait photographer of celebrities, is Merce Cunningham (1919-2009). He was an American dancer and choreographer who uniquely collaborated with artists of other disciplines,such as musicians, painters, designers and architects, and had a profound influence on modern dance. His choreographic innovations included the abandonment of musical forms, narrative, and other conventional elements of dance composition and he stated that he felt the subject of his dances was always the dance itself.
This photogravure shows a hazy gray and black outdoor scene. There is a dark cloaked figure depicted in silhouette and a suggestion of trees and vegetation. In the background is a misty gray hillside and expansive sky.
In 1908, Edward Steichen received an invitation from Auguste Rodin (1840–1917) to photograph his controversial sculpture of the French writer Honoré de Balzac (1799–1850). Rodin’s plaster model for a monument to this celebrated author had been rejected by the society that commissioned it and ridiculed in the press when it was exhibited at the Salon of 1898. Ten years after the scandal he still hoped the Balzac might be understood by its critics and that Steichen, whose work he admired, could help to achieve this.
Rodin recommended that the plaster sculpture be photographed at night in moonlight and Steichen agreed. Photographing in the dark requires leaving the film exposed for long periods and Steichen experimented with times that ranged from fifteen minutes to an hour. Of the resulting images, this is one of three that Steichen thought the most successful. When Rodin finally saw a set of the prints a week or two later he said, “You will make the world understand my Balzac through these pictures. They are like Christ walking in the desert.”