This forest scene has three trees in the middle of the composition; a straight narrow tree lies in the middle, with a tree next to it leaning diagonally to the right, and a smaller tree in the background to the left. On either side of the composition are more trees. Behind the middle trees we can see the forest open up with a lighter space. The bottom third of the composition shows the forest floor, a faint path, and shadows cast by the trees.
A base composed of a red section that lies on the floor and a black section that rises to narrow point. On the point rests the moving part of the "mobile"--one arm extends out and ends in a black boomerang; the other extends out then attaches to a vertical arm that has yellow polygons on either end.
The abstractionist's interest in the rhythm and motion created by the way shapes, lines, and colors interact with one another is here put in actual motion in the form of a mobile.
In thick, sketchy lines, this print portrays a scene in which a figure leans against a wall on the left, and a crowd of people look over a balcony on the right. The top half of the composition is taken up mostly by a ceiling with two lamps hanging from it.
(Cited from the book Fresh Impressions: Early Modern Japanese Prints) Oda Kazuma began his career by studying painting. While learning Western-style painting, he became interested in lithography. He was also influenced by his older brother, who was a lithography technician. While first associated with the Shin-hanga style, Oda Kazuma became deeply involved in the Creative Prints movement, or Sosaku-hanga, and in 1918 he was a founding member of Nihon Sosaku Hanga Kyokai. Oda Kazuma focused mostly on lithography, and his painterly style set him apart from his contemporaries. Oda Kazuma was particularly interested in portraying the developing urban landscape in Japan.
An elongated figure with minimal features stands on a small rectangular base with left foot slightly forward. The metal has a texture resembling molten wax.
Giacomett's tall thin figures visualize the fragility and the resilience of the human body in the aftermath of the World Wars and the Holocaust. Influenced by Sartre and Existentialism, Giacometti wanted to visually express the metaphysical desolation and despair that Existentialism tried to recognize and address.
Three gondolas in the foreground are in a river, steering toward a bridge on the right side of the scene. Two figures are steering in the foremost, center gondola, of which only a section can be seen. In the middle ground is a group of buildings, with a cluster of trees on the left. In the background, a cathedral rises up in the center left. The cathedral is created with much lighter lines, and blends in to the background.
The print shows a scene on a river during the Vegetable Market in the city of Amiens, France.