Black silk damask with some interwoved black lacquered threads; pine-needle design embroidery in gold- and copper-colored metallic threads
Nagoya obi were first produced at the end of the Taisho era, and are simpler than the more formal fukuro and maru obi. A portion of Nagoya obi fabric is folded and stitched in half, making it easier to tie. This is possibly a 1930s fukuro obi resewn into Nagoya style in 1970s
Vertically orientated image with trees along a hil like sketching on the right side of the image. Two tree trunks and foliage are distinguishable in the foreground. To the left of the trees and in the bottom third of the image is a small church-like structure very faint compared to trees and land. There is a a cloud in the upper half of the left side of the image, just barely extending into the tree foliage.
An etched landscape with energetic lines with trees in the foreground and a building far in the distance.
39.7 cm x 52.4 cm x 2.8 cm (15 5/8 in. x 20 5/8 in. x 1 1/8 in.)
Skewed lines stream downward across the print indicate torrents of rain. The trees near the pathway are blown over by the strong storm. Several travelers with hats and parasols are struggling to walk up along the path under the extreme weather.
Photograph with deep blue tint of a nude man, with his back to viewer, sitting on a porch railing, looking out into into the night. On the viewer's right, along the front of the porch, there is abundant vegetation.
Seeing the natural and everyday as supernatural, spiritual, and special. Dugdale's use of antique photographic techniques gives his work a timeless that speaks to issues of memory, togetherness, and loss. That aura of mortality hangs over this tender image of love and anticipation of togetherness.
30.7 cm x 39.7 cm x 2.3 cm (12 1/16 in. x 15 5/8 in. x 7/8 in.)
A view of a village by the river. Two pine trees and several cherry blossom trees are standing by the river. Several travelers are walking across the bridge, carrying parcels and goods. The river meanders and leads to the mountains in the distance.
On the right hand side of the print, two figures are standing in front of a market shop, talking to the store owner. In the distance is another figure walking along the path, and beyond him is what appears to be another market stall with other figures. Writing in the upper left corner. Title in the upper right corner in a red box.
Landscape with figures at the Yoshiwara stop along the Tokaido Road. Two men stand near a shop stall where the owner sits on a bench. In the distance, Mt. Fuji can clearly be seen rising above the trees.
Landscape painting of costal scene overlooking a body of water using an aerial perspective; three tree tops in center in darkened foreground in front of a glowing sky
Seeking solace after the Civil War, Kensett acquired property on Contentment Island on the Long Island Sound near Darien, Connecticut. This painting, probably painted from the artist's third-floor bedroom window or cupola, at the highest point of the island, captures the spirit of a nation in transition after the Civil War and reflects the desire to escape the congestion of growing cities to a place of placid retreat, and a longing to return to nature and the simpler, rural life of early America.
A woodblock print of two men entangled in combat at the base of a tree. Tree trunk takes up left side of print, in the distance are two green mountain peaks. A brown horse and rider are in the background (center right).
Dark, wet ink wash and light accents of color capture the lyrical mood of an autumnal moonlit night at Lake Tai and Mount Dongting. A round moon hangs low in the sky at top right, with a diffuse glow slightly brightening the clouds and sky below. Two islands sit in the water below, the larger (closer) of the two has four boats moored just offshore. Up close the boats appear as freely brushed lines, and yet at a distance, their forms come into focus. A building sits on the closer island, light shining in the windows. The silhouette of a pagoda can be seen on the further island.
A Shanghai artist of the early twentieth century. Having traveled to Japan, Wu appears to have been aware of both Japanese-and European-style painting, drawing upon these to expand his artistic vision. Subtle use of loose brushwork suggests Impressionism, marking the beginning of a new phase in the development of Chinese painting.
Here, caught in a sudden downpour, people rush along the steep hillside. Bamboo bends under the force of wind and rain, and the people in the foreground mimic this downward motion in order to shield their eyes from the water streaming upon them in torrents. Masterfully depicted, the viewer can almost feel the bullets of rain, and sense of sympathy for these unfortunate travelers.
Shono is a 2.5 mile stretch of mountain path along the suzuka river. In legend, hero Yamato Takeru is fabled to have turned into a white swan somewhere along this stretch.
In this scene, the palaquin bearers scramble against the hill and torrential rain. Villagers bow their heads and straw hats and umbrellas into the wind to shield them from the sudden rain. Legs are raised upwards to show effort and speed as the people race to get out of the rain. Int he background the bamboo bend under the downpour, and the intensity of the rain gradually obscures them from our view.
The roaring success of the Hôeidô Tôkaidô series of woodblock prints firmly established Andô Hiroshige’s reputation as a master of his craft. Hiroshige had received attention for his previous publication of “Famous Places in the Eastern Capital,” but it was these 53 images along the Tokaidô Road that brought Hiroshige massive fame.
Travel guides and souvenirs from famous places and destinations were already on the market, and it was from some of these guides that Hiroshige often based his images. Some speculate that the mass appeal of the Hôeidô Tôkaidô series is due to the feeling, by viewing this images, that one is able to journey the famous road from Kyoto to the capital city of Edo without having to set foot on steep mountain paths or face inclement weather.
Inclement weather, however, is a phenomenon that Hiroshige excels at depicting. Here, caught in a sudden downpour, people rush along the steep hillside. Bamboo bends under the force of wind and rain, and the people in the foreground mimic this downward motion in order to shield their eyes from the water streaming upon them in torrents. Masterfully depicted, the viewer can almost feel the bullets of rain, and sense of sympathy for these unfortunate travelers.
This black and white print has a long vertical format showing two nude figures standing in front of a tree trunk. The female is holding an apple in each hand and has her left foot resting on a tablet with the letters HGB. Her face is turned to look at the figure behind her. This figure holds her shoulder with one hand and with the other places a leafy branch in front of her genitalia. On the bottom left corner is a date 1519.
This woodcut print depicts a scene from the Book of Genesis in the Bible, Genesis 3:1-7. After Adam and Eve have eaten the forbidden fruit, they are aware of the nakedness and cover themselves with fig leaves. The gestures of the figures suggest the erotic aspects of Adam and Eve's post-fall state of sin.