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 Ekoi (sometimes referred to as the Ejagham) often cover wooden heads and figures with skin to make them look more lifelike. Fresh antelope skin is wrapped around the object and left to dry. Fatty particles on the uncleaned side of the skin allow it to adhere to the carving. These carvings are danced by special men's associations. They are attached to woven caps and worn on top of the head during dances. A dancer is covered by a gown extending from the top of the head to the ankles, leaving only the cap and figure visible.
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.
"Lady Carysfort" is a fine example of the medium of pastel and its remarkable capacity to simultaneously convey color and line. Cotes uses opaque, chalky linework to record the play of light on the various glossy and matte surfaces. The linear qualities of pastel, best seen in the enlivened rendering of the left sleeve, stand in contrast to the painterly qualities and the modulated tonalities of this same medium exemplified in the work of the French artist Maurice Quentin de La Tour. The canvas is signed and dated in the lower left "Fcotes pxt./ 1751." "Pxt" is a common abbreviation for "pinxit," the Latin term for "painted." The sitter, Lady Carysfort, was the wife of the first Lord Carysfort. Members of the British aristocracy vied for the services of the leading portraitists of the period, and Cotes was among the most popular. This portrait is part of a group of pastels executed by Cotes in 1751, four of which hang in Elton Hall in England.
(C. McNamara, 18th-19th Century Gallery installation, early 1999)
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."
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.
Recent Acquisitions: Curators Choice Part I, November 12, 2011-March 18, 2012
This black and white photograph depicts a partial view of a nude woman's body set against a solid black background. The figure is facing away from the viewer showing only the left portion of her torso, thigh and arm.
Large bronze sculptureS resembling headless human figures standing with one foot forward. The surface textures are all uniquely irregular and rough, with long vertical striations. All have colored patina, one is gold, one is green, and one is whiteish gray.
This is one of three Doner sculptures installed together- Angry Neptune, Salacia and Strider.
"Strider was named because the giant is taking a stride. It seemed this movement was a defining characteristic as the wax occupied the same space as Neptune and Salacia....I think Strider resonated with the powerful giants. So, they were created in the same space in a relatively short period of time and seemed joined in scale, presence and purpose."
Gift of the Ernst Pulgram and Frances McSparran Collection, 2007/2.95
It was difficult for Schiele to employ grown models, as he often could not afford to pay them for their services. The artist’s increasing use of child models—who were reluctant to stay still—encouraged him to develop a faster, simpler line. The tendency of charcoal to bleed after the application of watercolor caused Schiele to gradually lose interest in interior modeling of the body, while retaining an attention to details such as eyes, hair, and the fleshy folds of the newborn’s skin. In 1910, Schiele was given access to the University Women’s Clinic by the gynecologist Erwin von Graff, to whom he had recently been introduced. Although many of the drawings and watercolors he produced there were of pregnant women, it is likely that this study of a newborn infant, and others like it, were created during his visits to the hospital.