This image is of a lone female figure centrally located on the scroll. The dominate color of the image is red. The figure's outer kimono is decorated with red and gold maple leaves.
Living in Kyoto, Soken was one of Maruyama Okyo's ten best pupils. He excelled in his depictions of beautiful women. The woman in this work, with one arm withdraw into her sleeve and a hand working to let down her hair, appears to be undressing. The soft reddish blush on her cheek and her averted eyes suggest that she is aware of being observed.
The artist uses soft, almost nostalgic, tones to portray her sick teacher, Chang Ku-nien. Chang is depicted in a blue shirt and wearing glasses. On either side of the portrait is calligraphic text added to the image by Liu Yantao.
A portrait of artist Chang Ku-nien by one of his students, the accomplished woman painter Wang Shouxuan (Wang Shou-hsuan). The portrait is intended as a commemorative piece for her diseased teacher, with whom Wang had studied since 1952 and had become a close family friend. This image of Chang apparently vividly re-captures Chang’s appearance and spirit. One of Chang’s dearest friends, the renowned traditional painter and calligrapher Liu Yantao, thus inscribed two inscriptions upon seeing the painting. He lamented the loss of his friend as the image brought back so many memories of their friendship.
Three male figures dressed in dark clothing, with their backs to the viewer, stand on a shore facing the water as shafts of light break through dark clouds overhead. The figure at the viewer's left raises his hands in exultation. The man in the center stands with head tilted back; the figure at the viewer's righ looks down, as if at his hands. The words of the Lord's Prayer are presented in three lines of text, at the top, middle, and bottom of the composition.
Pechstein's "The Lord's Prayer" series of woodcuts mixes the text of the prayer with images of human wretchedness and spiritual need that draw on the Christian tradition to comment directly on the suffering and despair experienced by many Germans in the aftermath of the First World War and the economic crisis that followed.
This sheet depicts three men in various poses of exultation and wonder as the light of heaven breaks through darks clouds and shines on the water.
Dollhouse replica of a two-storey Victorian-style flat in the East End of London. The façade is red brick with white molding. The upper storey has two tall windows that face onto the street; the door into the flat is on the left, and to the right of it is a large bay window. The split-level interior holds a bedroom and parlor, both of which are decorated with wallpaper and furnishings, including cabinets, chairs, tables, fireplaces, and a canopy bed. Reproductions of paintings by Shonibare and Jean-Honoré Fragonard hang on the walls. A seal on the right-facing outside wall reads: “Yinka Shonibare, artist, lives here.”
Every year since 1988, art collector, software entrepreneur, and MoMA trustee Peter Norton has commissioned an art edition to celebrate the Christmas season and holidays.
Shonibare’s dollhouse was part of the 2002 Peter Norton Family Christmas Project, and can be purchased online for $750 at http://www.momastore.org/.
As in many of Shonibare’s other works, “Dutch-wax” dyed fabrics commonly found in Western Africa figure prominently in the dollhouse, from the upholstery of the chairs and bed-coverings to the wallpaper, and reflects the West African [Nigerian] heritage that has been at the heart of his work since he started exhibiting in 1988. Generally perceived as “authentic,” Shonibare uses such material as a way of deconstructing the more complex histories that determine these and other images of ethnicity. (Oxford art online)
A portable painting done in ink and gouache on loose-weave, primed cotton, surround by two strips of fabric. This painting has suffered greatly from water damage, running the pigments together.
A portrait of a lama (teacher), dressed in red and monk's robes and a red pandita (scholar's) hat, in confrontation with a blue-faced, three-eyed demon. The lama may be tentatively identified as the early 14th-century master Yungdron Dorje Pal. He is shown here holding a 'kila' dagger in his right hand, while he extends his right hand to offer a skull cup to the blue demon.
Three monks in red robes, two of whom wear folded pandita hats, look on the scene from the lower left corner; in the lower right-hand corner, the blue-skinned dharmapala Mahakala tramples a prone figure. To the viewer's upper left is a meditation deity, a yab-yum pair with flame-red skin. At the upper right, a monk-scholar sits calmly within a blue orb, reading from a text.
Other paintings with this same composition are illustated on http://wwe.himalayanart.org, as follows:
• Rubin Museum of Art in New York City, acc. #F1997.9.1. A
• Erie Art Museum (accession number not given), also in very poor condition
Horizontal view of harbor scene with water, dock, and boats. Small figures and trees on pier in middle ground. WMC painted in green in lower right corner.
This works marks a pivotal period in Chase’s career as he began to apply French Impressionist techniques to distinctly American urban landscapes. He deliberately focused on the subject matter of the parks and harbors of New York with the aim of underscoring the civility of modern American culture. In “View of the Brooklyn Navy Yard” Chase transforms an ordinarily rough commercial space into a high art subject.
51.44 cm x 39.05 cm x 1.27 cm (20 1/4 in. x 15 3/8 in. x 1/2 in.)
Japanese style woodblock print of a samurai standing with his back facing the viewer. The woodblock print has been colored during the printing process. The samurai figure takes up the majority of the image, with printed Japanese in the upper and lower right corners of the print.
This image portrays Ichikawa Ichizô III. He was a promising 19th century tachiyaku actor. Quite tall, Ichikawa Ichizô III was able to perform a wide range of roles, not only as a tachiyaku, but also as a katakiyaku or an onnagata. His field of excellence was jitsugoto. He died at a young age, during his early 30s, and would have taken the name of Ichikawa Ebijûrô, to honor the memory of his grandfather, had he lived.This print is part of a set of five.
Small-size covered box, with a handle surrounded by a raised stylized calyx, which imitates the growth pattern of the top of a mangosteen, and a band of star points at the rim of the lid. The body has a band of vegetal scrolls. Brown-and-cream glaze.
Covered boxes were used as burial objects to accompany the dead. This practice for the care of deceased people in afterlife preceded the succession of foreign religious influence from Buddhism, Hinduism to Islam. The stoneware trade ceramics were also objects of status and wealth, for the local kilns only produced less durable and inexpensive earthernwares. The round shape with a handle, and some of the design motifs were adopted from stone and metal reliquaries and architectural elements came with Indian Hinduism and Buddhism.