The top row of triangles employs the colors mustard yellow, lilac and teal; the bottom row’s triangles are painted in taupe, sage and dusty violet. One of the triangles in this row is left unpainted, which shows the precisely measured and drawn lines that form the triangular composition.
Two girls, depicted in bold geometric shapes and block colors, reading a book together. The figure seated at viewer's right, slightly taller, is green and wearing yellow. The figure at viewer's left has a face of blue and white and is clothed in red resting her clasped hands upon an open book.
Two girls in an embrace read a book together. The figure at the viewer's left is Picasso's mistress at the time, Marie-Thérèse Walter. The other figure is thought to be either Olga Koklova, his wife, or Marie-Thérèse's sister. The scene suggests intimacy, yet the distored shapes and vibrant colors evoke a separateness, distance, and give the piece a melancholic feel.
Three courtesans engaged in a drinking game sit in an open veranda in early spring, with cherry blossoms in full bloom behind them. The women appear tipsy, and the one at the right clings to her companion in the middle for support, as she stretches out her left hand to have her cup refilled with saké (rice wine). They have a tray of delicacies shamisen at their feet.
All the senses are aroused by this image of three women engaged in a playful drinking game. The setting is an open veranda in early spring, when cherry blossoms are in full bloom. The party scene is complete—except perhaps for the male client who has paid for it all. Male viewers of the print no doubt preferred to imagine themselves in that role. Eizan is from the same group of printmakers as Ichirakutei Eisui, and the elongated faces are typical of their prints.
Goldweights are small objects cast from brass used to weigh out quantities of gold and gold dust. They are cast using a lost-wax casting technique, wherein wax is sculpted into the desired shape and a mold is pressed around the wax model. Then, the mold is heated and the wax drained out, leaving a void in the shape of the original wax model. Liquid brass is poured into the mold and allowed to set before the caster cracks the mold open and retrieves the finished goldweight.
The Akan gold fields were an important source of West African gold from antiquity through the 20th century. Gold was traded on a global scale through both the trans-Saharan and trans-Atlantic trades. The use of gold in long-distance exchange was facilitated by the use of standardized weight measurements. Goldweights, based on divisions of the Islamic ounce, were widely employed throughout the Akan area to measure the quantity and value of gold.
Akan goldweights take many shapes. Different sized goldweights measure different amounts and values of gold dust. Goldweights also vary by their aesthetic attributes. Geometric designs are common and are found in the earliest archaeological contexts. Later goldweights take many figurative forms, often linked to proverbs, jokes, and poems. Still other goldweights duplicate adrinka, a system of visual symbols used in cloth decoration.
Two figures in the foreground stand with their backs to the viewer, looking toward buildings in the middleground. The buildings are built in the pueblo style, with some arched windows and beams jutting out from the roof. A ladder leans against a building in the far left of the composition. The scene is heavily shadowed, by both the buildings and the figures.
Hoerman devoted most of his time to landscapes, particularly focusing on western settings and desert scenes. This print depicts the ancient stone pueblo village of Walpi in northern Arizona.
Lithograph print on white paper. In the center, a very bulbous teapot, with a large conical mouth and protruding spout, is depicted in crude outline and filled in with patchy dark brown. To the right is a banana and the outline of an apple. A gray background fills the space around the objects and trails off into the white paper at the edges.
Still life with teapot and fruit, executed in a late Cubist style. The emphasis is on a minimal representation of space and objects.