Two nude figures embrace and kiss. The man is seated with his legs crossed as he bends to the side to embrace the woman, his arm under her shoulders. The woman, kneeling beside the man, arches upward and backwards to meet the bending figure of the man. The smooth modeling of the figures is contrasted by the more agitated modeling of the base and the support on which the man sits.
Rodin felt that his works revealed the inner soul of the figure; and it is the emotion of the ardent embrace that informs the poses of these two lovers. Rodin was also an admirer of the sculpture of Michelangelo, and shares with the Italian master this quality of forcefully articulated nudes. Closely related to figures in his masterpiece "The Gates of Hell"--particularly in the female figure--this image of yearning and passion became one of the artist's most popular works and was carved in marble as well as cast in bronze.
Enamel abstract expressionist painting in traditional Valentine’s Day colors: white, orange, red, magenta, salmon.
“In place of the brush and other typical painter's tools, Clough uses an instrument he calls the ‘Big Finger,’ a large balloon-like contraption that he invented to spread poured house enamel on masonite into broad gestural constellations.” (Max Henry, “charles clough,” http://www.artnet.com/magazine_pre2000/reviews/henry/henry2-5-99.asp)
Two lovers sit in an elaborate, symmetrical marble palace, decorated with inlaid stone and a domed roof. Inside, a highly individualized prince sits near his lover and caresses her chin. Above the scene is a box containing calligraphic text.
The rulers of Bundi and Kotah commissioned ragamala paintings in great numbers from the seventeenth century onward. In Bundi-Kotah versions of the Dipak Raga, two lovers sit in an elaborate marble palace, decorated with inlaid stone and a domed roof. The figure of the prince, who gently caresses his lover’s chin, is highly individualized and may be a portrait of the patron.
Bust portrait of Paris of Troy. He looks off to the upper left. He is shown with a helmet that is toped with a sphynx-like figure and long feathers.
This is a portrait of Paris the young prince of Troy and son of King Priam. As recounted in Homer's epic poem "Illiad," Paris meets Helen, the wife of King Menelaus of Sparta, and kidnaps her. This sparks the Trojan war which brings distruction to the city, in the end.
The profile bust of a young woman is depicted in the well of this dish. The rim features a variety of grotesque ornament, including two winged, serpent-like creatures with human heads, whose tails interlace at the top of the plate. Cornucopias full of fruit appear beneath these creatures, followed by weapons and shields, one of which bears the date 1526. At the bottom appears the head of a cherub supporting a vase of fruit.
The well of this dish contains an idealized portrait bust of a young woman to whom this plate was probably offered as a gift by an amorous gentleman. The grotesques adorning the rim of the plate are derived from ancient Roman decoration.
Brightly colored painting with three primary registers. The uppermost and smallest register contains a poem. The lower two are larger and similar in size. The bottommost depicts stairs, architectural structures, snakes, and flowering plants. Above, the middle register frames a seated man under a canopy-like architectural form, who reaches out to grasp the wrist of a woman. Behind her is a flowering tree, and and the far right, and open door.
According to the poem in the top register, this is a scene of two potential lovers meeting. The pair do not clasp hands or embrace, but the male appears to be forcibly grabbing the wrist of the woman. They are separated by an architectural structure: He remains in his room, seated on his bed, while she holds her hand up to her mouth, unsure and hesitant.
The fertile flowering bush behind the woman may suggest his romantic overtures will be successful.
The lower register shows a pair of snakes, one emerging for an analogous architectural canopy-like structure. Another snake, on the stairs above. is separated from the one below by what may be a palm tree, and two flowers on either side leaning slightly in opposite directions. It has been suggested that these snakes, in contrast to the man and woman above, will meet an obstacle in their pairing.
A light sketch drawing of a scene full of activity. Towards the center of the piece is a pair of lovers in embrace. All around them are nude figures, identified as children, playing by the water. Some are fishing, others are in a boat, and the remainder are either swimming of reclining by the water's side. Below these figures is a study drawing of a person's profile angled to the left, while above the scene is a more detailed study drawing of a young boy's head.
A nude man and woman recline together on the right side of this octagonal plaque. They lay upon the mesh of a net, which is being pulled by a nude male figure seated nearby next to an anvil. Behind the seated man appear two standing figures working at a brick forge. Another pair of figures stands in the middle ground with a row of trees behind them. A diminutive figure mounted on horses appears against a disk in the sky.
This bronze plaquette depicts Vulcan, the god of fire in Greek and Roman mythology, springing a trap upon his wife Venus, whom he suspected of infidelity as recounted in Ovid's Metamorphoses. Vulcan sits at the left with an anvil between his legs and pulls a finely woven net to ensnare Venus who lays in the embrace of her lover Mars, the god of war. This plaquette comes from a series depicting episodes from the Metamorphoses that were created by Jacob Cornelisz. Cobaert after drawings by Guglielmo della Porta.
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.
Among a gold and bright mineral pigmented landscape, Genji stands below a cherry tree in full bloom and watches Murasaki, who stands in an architectural structure. A distant stream and hilltops indicate the isolated setting.
On an excursion in the mountains, Genji discovers the villa of a tonsured noblewoman. The nun has temporary charge of her granddaughter, Murasaki. (Wakamurasaki means “the young Murasaki.”) Drawn by the commotion caused when a maid accidentally released Murasaki’s pet sparrow, Genji peeks through the fence. Struck by Murasaki’s beauty, he arranges to adopt her; she later became his favorite concubine. The cherry tree in full bloom suggests the blossoming of romance.
In the seventeenth century, large-scale folding screens of Genji themes became popular trousseau items among members of the military aristocracy. For these auspicious purposes, artists chose scenes that idealized courtly love, rather than the darker moments in the novel. The style of these paintings looks back to the earliest Genji pictures of the eleventh and twelfth centuries, which had established a classical model for the theme: gold and bright mineral pigments are thickly applied to create a rich, jewel-like surface, and figures are drawn with stylized features to allow viewers to imaginatively project themselves into the scene.
A female nude reclining on a bed wearing one yellow slipper on her left foot, a gold bracelet on her right arm and a black ribbon tied in a bow around her neck. An African American woman in a blue dress stands behind her holding a bouquet of yellow and white flowers. A small monkey sits at the foot of the bed. All subjects look directly at the viewer.
This work borrows its subject matter, title and composition directly from Manet’s Olympia painted in 1863, which depicts a nude mistress, or more likely a prostitute, reclining on a bed; behind her is an African American woman, presumably a maid, presenting her with a bouquet of flowers, while a black cat sits at the foot of the bed.
In this work, Mel Ramos blurs the line between the fine art tradition of the aestheticized female nude and contemporary pornography, suggested by his hyper-realist treatment of the nude, revealing her tan lines, her blonde bob, and her quasi-seductive gaze, similar to what one might find in any number of pin-ups girls. Ramos updates not only the reclining nude, but also the older black servant, who becomes a young woman with a stylish afro. He further exoticizes the scene by replacing Manet’s black cat, a common 19th century symbol for prostitute, with a small monkey that, along with the two women, makes direct eye contact with the viewer.