26 cm x 32 cm x 2.5 cm (10 1/4 in. x 12 5/8 in. x 1 in.)
A group of figures with parasols and hats wait on shore for two approaching boats filled with passengers. Trees and a village are seen on the opposite shore. Writing in the upper left corner. Title in red box in upper right corner.
Cityscape of Kawasaki along the Tokaido Road. With two ferries already full of passengers, other travelers wait to cross the Tama River.
A group of people are seen on the balcony of a building; a number of the women hold parasols against the bright light. On the floor above are two windows with balconies; people can also be observed looking downward. Above these windows are indications of the roofline and chimneys. Below the balcony are pilasters or brackets indicating architectural detail of the ground floor.
The president of France, Marie Francois Sadi Carnot (1837-1894) was assassinated on June 24, 1894. On July 1, the day of his funeral procession in Paris, Whistler drew two lithographs (the other is "The Little Balcony," 1954/1.444) showing citizens of Paris watching the progress of the cortege from windows and balconies as the procession passed underneath.
This kimono with a white chrysanthemum pattern was created using the shibori dyeing technique. Tiny pinches of fabric were twisted up and tightly bound with thread before the whole piece of cloth was dyed.
A stylized symbol for longevity adorns this obi. This is a common symbol in Asian art, and pieces adorned with this symbol can be given in the hopes of wishing someone long life, prosperity, or good health. The character is often surrounded by other symbols of good luck, such as flowers or bats. This particular obi is adorned with other important symbols, including the scrolls to signify knowledge, and the lucky mallet which was said to grant wishes.
On the right hand side of the print, two figures are standing in front of a market shop, talking to the store owner. In the distance is another figure walking along the path, and beyond him is what appears to be another market stall with other figures. Writing in the upper left corner. Title in the upper right corner in a red box.
Landscape with figures at the Yoshiwara stop along the Tokaido Road. Two men stand near a shop stall where the owner sits on a bench. In the distance, Mt. Fuji can clearly be seen rising above the trees.
A color woodblock print of a young woman hanging a paper with poem on a cherry tree. The woman is in a kimono with intricate design of cherry blossom, hemp leaves, birds and swirls, pine trees and diamond patterns. She also wears broad obi (sash) in checkerboard patterns, which is bow- tied on her back. There is also a white sash underneath the obi, which supports her long kimono. Her hair is tied on the back and adorn with tortoise-shell comb and pin. The cherry tree is in full bloom; there is a curtain with a family crest behind the woman and the tree; a certain kind of platform with swirling vine pattern is peaking below the curtain. The overall color scheme is in yellow, orange, black and white (the color of the paper). There are artist’s signature and two seals on the right bottom corner, and smaller seal on the left bottom corner.
During the Edo period, cherry blossom season was one of the few times of year when women of upper class households were permitted to enjoy outdoor amusements. The ladies and their servants would gather under the blossoms to feast on elaborate picnics and play courtly games, all concealed from public view by large curtains. In this print, the artist allows us the voyeuristic pleasure of an unhindered view of a beautiful young woman. From her gorgeous kimono of intricate patterns and expensive tortoise-shell hair accessories, it is clear that she is a daughter of a samurai family. She is shown hanging a poem card (tanzaku) on a tree just outside the curtain—perhaps a love poem intended for someone she expects to pass by.
The verse may be translated as
Once more again in love,
Once more regret--as fleeting
(Adopted from: Maribeth Graybill
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels
A print done in shades of gray of a home scene. A woman wearing a dress and holding a sun umbrella walks up the side stairs of a simple covered porch attached to the front of a wooden house. On the porch are two adult figures talking and three seated children, one of which sits on the stairs. A tall wooden fence with a door extends the front face of the house, out of which a young girl walks.
A bearded man, wearing majestic red robes with a large ermine collar and a green turban surmounted by a crown, sits on a throne at left. He leans forward, holding a long thin scepter in his right hand while touching his chest with his left. Before him stand two women supporting a third, who has fainted. This third woman wears a splendid blue robe ornamented with a row of opulent clasps, a luxurious golden cloak lined with pink fabric, and a crown that seems to tilt precariously on the back of her head. The man looks intently into the face of the fainted woman, while the two women, in turn, watch his expression closely.
On this grand canvas the painter Guercino has depicted the dramatic intervention of Esther, the biblical heroine, with King Ahasuerus to save her people. Compelled to rescue the Jews from a royal decree ordering their destruction, Esther appears before the king to present a petition without having been summoned, an act that was punishable by death. Esther, wearing her crown, has fainted, and Ahasuerus rather than condemning her, feels compassion, eloquently expressed by the gesture of his left hand, and extends his scepter toward her as a sign of favor.
This is made of a thick brocade of red, gold and silver. Medallion patterns and wavy stripes are woven through the entirety of the fabric, rather than halfway, as is common in less intricate obi. Medallion motifs of tortoise shells, flowers, and bamboo leaves are spaced among the golden waves across the fabric.
The red color of this obi is a bold and auspicious one, and marks the obi as one probably worn only for weddings or other formal celebrations. The motifs within the medallions that decorate the obi are traditonal symbols of longevity.
Beaded, veil fringed, canonical crown; seven long beaded tassles dangle from the bottom rim of the crown; entire surface area is embroidered with multi-colored seed beads; three tiers of colorful faces surround the perimeter; a series of three dimensional birds perch on top of the crown; the largest bird sits on tip and is removable.
Oba’s wear royal crowns on state occasions. Its conical shape emphasizes the Yoruba ruler’s otherworldly presence on earth while subsuming his human identity. A cone—a flattened triangle—acts as a metaphorical device that takes the spirit world of above and channels it downward into the inner space of the ruler’s head. Yoruba philosophy contends that a ruler’s destiny, source or authority, and power all stem from his head. Hence, head beautification and protection are among the most important priorities in Yoruba royal arts.
This colored engraving features what appear to be three generations of women in elaborate dress in an interior space. A young girl in a brown dress is positioned with her back to the viewer on the left of the composition. She presents an object to a woman in a blue-grey dress who is seated in the center of the composition holding a piece of paper in her right hand. A young woman in a dark and pale turquoise dress stands on the right of the composition looking down at the child. Between the two adult figures is a table decorated with a vase of pink flowers.
A fashion print of a seated woman with a letter accompanied by a standing woman in a blue dress and a young girl in a brown dress.