Landscape painting with white mountain peak in center background, body of water in foreground, and a Native American encampment to left.
Painted from The Dalles, an area known as the end of the Oregon Trail along the Columbia River, this view of Mount Hood, the surrounding Oregon landscape, and a Native American encampment is a composite picture, painted from memory with the aid of sketches and daguerreotypes.
Stanley was a largely self-taught artist who developed his style, reminiscent of the Hudson River School of painters, as a staff artist for expeditions to the West in the 1840 and 50s.
Bronze sculpture of a standing male figure his right hand holding a shield which rests upon a stack of book while his left arm is outstretched hovering over the crouching figure of an African American male figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself. This work is a maquette for the Emancipation Memorial in Washington D.C.’s Lincoln Park, which depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.
A girl with long loose hair stands on a carpet in front of drapery. She is wearing a straw hat and cape over her dress; she is wearing flat shoes with rosetts on the top. She stands facing slightly to the left, although her eyes look at the viewer. Her left hand is not visible and her right hand holds the edge of her cape.
Whistler was very fond of the children of his half-sister, Deborah Haden. She and her husband, the surgeon and amateur printmaker Francis Seymour Haden, lived in London and Whistler spent a lot of time with the family. He drew and painted his sister and her children numerous times in the late 1850s and early 1860s. This portrait of his niece Annie was drawn when the sitter was about 12 years old.
Whistler admired the paintings of Velázquez and here Whistler incorporated some of the conventions of aristocratic portraiture that he valued in the Spanish painter's work. However, despite the formality of the pose, Whistler's drypoint shows his touching empathy and affection for Annie. The face captures all the tentative self-consciousness of the young woman with the most delicate lines. Years later, even as late as 1900, when Whistler was asked if his reputation as a printmaker had to rely on only one of his works, he said that he'd stake his reputation on this plate of Annie Haden.
This small bottle consists of iridescent glass with mirror-like surfaces and swirling desigsn in green and brown that evoke agate. The dark designs are in bands that grow up from the base and along the shoulder.
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
color photograph with comic-strip-style illustrations in black acrylic on white paper, mounted and framed
The comic strip comments on the sky-high prices of the art market, the deep pockets needed to enter into that market, and the exclusive, insider nature of art collecting. This is juxtaposed against a photograph that “represents at least one person who never looks back” at a homeless man you’ve passed on the street.
Huebler depicts a montage of elements directly cited from or reminiscent of iconic paintings of the Italian Metaphysical School of painting, 1913-20. Forms of Renaissance architecture, perspective space, and sculptural objects are arranged in a surrealistic dream space.
This print shows a black horizontal rectangle in the lower left portion of an off-white background. The rectangle is divided in half and each side has a pattern of stripes that create the appearance of inverted u-shaped forms stacked one on top of the other.
Frank Stella began making prints in 1967 in collaboration with Kenneth Tyler at Gemini G.E.L. in Los Angeles. This lithograph is part of his small print series, "Black Series I," that were derived from his earlier stripe paintings from 1958-59.
Shown in court attaire, a man stands with arms bent at his waist, and left hand holding both a rolled up document and a small pair of spectacles. It reads above the man's head "M. Labori", who was Captain Dreyfus' defense attorney.
A scene of geese in pond and on sandbars. The geese are congregated in the lower left hand side of the painting, as are most of the reeds growing from the sand bars. Some geese can also be seen flying in the middle of the painting, though they are not as prominent. Five lines of calligraphy are lcoated in the upper right of the painting.
The colophon is a poem by Wang Baigu. The scene is a description of the poem, which visualized the poem and at the same time makes the painting poetic. The poem describes a group of geese lingering in the reeds. Geese were a common metaphor for homesickness in Chinese art and literature. Chang must have been familiar with the feeling of homesickness, which suffuses this twilight scene of water, sandbars, and birds.
A portrait of a man in decorated uniform. The man faces the viewer directly, and is painted in bold colors with a watercolor-like effect. Beneath the portrait reads "Georges Picquart", who was an investigator on the Dreyfus trial.