An aerial view of where water meets land. The image is full of texture representing the different landforms. The water creates a "C" curve on the right hand side of the image, while the sand creates a reverse "C" curve on the left side.
In this long narrative landscape, our eyes trace the journey of the fisherman, who may be standing in the distance on the left. His boat can be seen tucked behing a rock, and the mouth of a small cave. Pink petals of peach blossoms adorn the trees along to shore of a stream.
This panoramic view of a pastoral landscape is based on a famous story of Peach Blossom Spring written by one of the greatest poets in China, Tao Yuanming (372-427). After traveling along a stream, a fisherman came to a breathtaking peach grove, where the air was filled with the aroma of peach blossoms, and pink petals fluttered through the air. The fisherman found a cave, and after passing through its narrow walls discovered a vibrant, flourishing village. Surprised to have a visitor, the residents asked where he had come from, and explained that their ancestors had fled and settled there during the harsh Ch’in dynasty (225-209 BCE). After a few days he returned home, and promised the villagers never to share where he had been. Cunningly, the fisherman marked his return path and told his magistrate of the fertile land, yet no one was able to find the idyllic village again.
The snowy mass of Mount Hira rises behind a snow-covered village and clumps of bamboo by an inlet of Lake Biwa. The attendant poem in the upper left corner reads:
He who would see the beauty of the evening on the peaks of
Hira must behold it after the snows have fallen and before the
flowers are fully blown.
This print is one of eight that depicted the beauty of Ômi province, centered around Lake Biwa. This particular print shows the dark silhouettes of travelers, perhaps along the Tokaido Road, making their way through the snow.
This horizontal format painting is done in shades of light and dark gray, cream and yellow. With abstracted forms it depicts jagged mountains sihouetted against a cloudy sky. In front of these mountains there are rolling hills and geometric forms that suggest a cityscape. In the foreground there are more mountain peaks.
This oil painting shows the city of Quito, Ecuador which was the home of the artist, Oswaldo Guayasamin. He painted this group of mountains surrounding the city and the volcano, Pichincha, in many colors to reflect the various seasons and times of day.
plate 34 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
Small white blossom in the bottom left portion of the print. The bloom itself is a long and vertical flower growing on the ground, which is covered in dried leaves. The foreground and the flower are in focus, while the background is dark and out of focus.
An abstracted image of a milkweed plant. Two blossoms in the center, facing opposite directions, create white halo-like shapes around their dark, oblong centers. The bottom of the image has a white streak, while the rest of the print is composed of dark, ink-like background speckled with yellow and reddish out of focus shapes.
This painting depicts a solitary bird perched on a tropical banana plant. There are inscriptions and signature of the artist on the upper left-hand corner: "A farewell gift for Mr. Katsuizumi, as he goes south. Baishi."
In 1922, a friend persuaded Baishi to submit paintings to a Sino-Japanese art exhibition in Japan. It was a spectacular success: his paintings sold for far higher prices than he had been earning in China and several were chosen for an exhibition in Paris, which led to international fame. The Japanese remained some of Baishi’s most eager customers, although he increasingly refused their requests after Japanese incursions into China in the early 1930s.
However, this painting was a gift for the artist's Japanese friend. The artist inscription indicates that it was a farewell gift for his Japanese friend Katsuizumi Sotokichi when he left Beijing for a more southerly post.
It perhaps anticipates that Katsuizumi would be lonely in his new environment. Made in probably the 1920s, it quietly bears witness to an earlier and more congenial phase in Chinese-Japanese relations.
This winter landscape scene is painted in light pastel colors including, white, blue, pink and gray. The artist has used vigorous brushstrokes and the paint has been applied thickly on the canvas. The scenery is not painted in detail but done in an impressionistic manner.
In the foreground, a snow-covered hill slopes downward from the upper right side of the composition to the lower left. There is one tall tree that frames the scene on the far right and several others clustered on the left. In the middleground area, seen through the branches of these trees, there are factories and buildings of a town. Also, there are figures ice skating on a pond, at the far left of the composition. In the far distance, seen over the edge of the slope, is the skyline of a city, the shapes of skyscrapers silhouetted against a cloudy sky.
This landscape painting by Henry Reuterdahl portrays a winter scene of the city of Weehawken, New Jersey, which lies across the Hudson river from Manhattan. Reuterdahl has painted this view from a point on the cliffs that give the city its name. (In the Lenape indian language, "We-awk-en" means "rocks that look like rows of trees"). He shows the terrain of the snow-covered cliff in the foreground area and provides a view of Weehawken below, from the ice skating pond to the smokestacks of the factories along the river. In the far distance, can be seen the bluish skyline of New York city can be seen silhouetted against a cloudy winter sky.