This small sketch presents a view along a waterway that passes beneath a double-arched bridge. The triangular sail of a small boat is visible just before the bridge, moored to the quai next to some sheds. A tall church with a central steeple rises on the right bank in the foreground, and two other tall buildings punctuate the middle ground and distance. The chimneys and rooflines of humbler dwellings appear on the left bank. Despite the urban setting, only a few figures may be glimpsed, including a man crossing the bridge on horseback.
Jan van Goyen avidly sketched his surroundings in his native Holland. As one of the leading landscape painters of the seventeenth-century, his drawing was as essential part of his practice in developing subjects and compositions for his paintings. Many of his sketches, often in small sketchbooks that would fit easily into a pocket, are rapid notational indications of a scene that capture only its essential outlines. This drawing is more fully developed than such sketches, but less elaborated than van Goyen's detailed drawings for paintings. He probably made the drawing on site, working swiftly and masterfully with black chalk, and later returned to the drawing to add touches of wash to create the shadows in the water and along the riverbanks.
This small carved boxwood cross is divided on each face into five compartments containing Christian religious scenes. The cross is set in a stand decorated with mother-of-pearl and green glass-paste stones.
This small sanctification cross, which would have been used for holy water ceremonies in the Orthodox church, depicts six scenes drawn from the life of Christ and the Virgin Mary along with the four Evangelists writing the gospels. The Baptism of Christ appears in the center of one side of the cross with the Annunciation above and the Presentation of the Virgin in the Temple below, while two Evangelists are depicted in the horizontal arm. The Crucifixion serves as the central scene on the other side, with Doubting Thomas above, Christ's Descent into Hell below, and two more Evangelists on the horizontal arm of the cross.
A massive harlequin figure, depicted in purples, greens, and yellow, sits in a chair at center, wearing a hat. A plate sits on the left armrest of the chair. The central composition of the seated harlequin is contained within a circular framework.
Between 1922 and 1924, Gris produced sets, costumes, and props for ballet and theatre productions, working most notably with Serge Diaghilev. This is one of the few paintings he produced during that time. The harlequin was a stock character from the theatre and is a recurring figure in Gris's work. This painting is also an example of Gris's late Cubist style.
This sparely executed lithograph depicts, from left to right, a young boy, an aged man in a hat, and an aged woman in a shawl looking at the food on display in a shop window, bananas, cheese, sausage, and wine, among other items.
In the years following World War I in Germany, many poorer and middle income people, who had already suffered deprivation during the war, struggled for basic subsistence in a time of deep economic crisis, with runaway inflation and growing class differences. The more wealthy managed to stay well off, and this piece highlights both the deprivation of the poor and the highly visible socio-economic inequality that meant that others had plenty.
A group of laborers, wearing hats and jackets, walks from viewer's right to left along a street littered with garbage. The two in the front carry shovels. In the background is an industrial landscape, dirty and in disrepair.
One of George Grosz's many works from the period after the First World War that explore the hardship of the poor and the working class in Germany's economic crisis, against a backdrop of a decaying industrial landscape.
Man and woman at table. Man central figure, from top to bottom of image, with his right leg resting on his left knee and his face turned to look out, left. Man identified by detailed masculine face, short hair, pants and shirt with heeled shoes. Woman identified by skirt, heeled shoe, and hat. Only one foot visible, as she sits with her back to us. She is much smaller than the man's figure. Table has no visible support, no visible chairs, though figures appear to be sitting.