A landscape reduced to minimal abstract elements. The lower half of the painting is black. The upper half, various shades of white and blue. Two black squares are suspended in the white above the black. A small pale blue circle is between the squares.
One of Gottlieb's Imaginary Landscapes. The landscape reduced to basic conceptual elements, allowing the work to resonate between representation and pure minimalist abstraction. Interested in mythology, Carl Jung, and indigenous art, Gottlieb hoped to show "the emotional truth of the landscape."
A village by a lake is shown in the snow. Several travelers are walking in the streets. The snow is steadily fallling and covers their hats, the roofs of the houses, the trees and the mountains. The title is in the upper right corner in a red box.
A procession enters the village of Fujikawa, the 37th stop along the Tokaido Road. Many feudal lords travelled the road, so many stations, much like Fujikawa, would have had multiple inns for travelers.
A group of travellers moves along a path at the foot of the mountains that grow upward, dominating the majority of the pictoral space. The common technique using small black dots occurs throughout the painting, accenting mountain edges, tree branches and roots. A building can be seen peeking out from behind the mountains in the lower portion of hte painting.
It is common in Chinese ink painting to create works in dialogue with past masters. The dark jagged edges of the pine trees and rounded looming mountaintops recall the style of master painter Guo Xi and his famous work Clearing Autumn Skies over Mountains and Valleys. Active in the Northern Song Period (960–1217), Guo Xi was passionate about the need for painters to be in communion with nature in order to truly represent space and changing phenomena.
Contemporary black and white photograph made to look old. The image is contained within the circular field created by the aperture. A foggy landscape with silhouetted trees receding from the left into the hazy distance and sky.
Photograph taken and treated with techniques to make it look antique. The ethereal faded landscape image of rural Virginia evokes history and the memory of a pastoral, antebellum past, or the ghost of that past haunting the South of the post-Civil War era.
Yoshida Hiroshi, living during the time when the Creative Print (sôsaku hanga) movement was gaining strength in the 1920s and 1930s, was not a member of the Creative Print movement. Unlike those sôsaku hanga artists who did everything themselves, Yoshida Hiroshi had carvers and printers produce his prints. Yet, unlike the traditional Ukiyo-e artists, he assumed the supreme authority over the production process, supervising the carvers and painters.
With his training in Western-style painting with oil, Yoshida Hiroshi had incorporated such skills into his woodblock printing and created unprecedented and original prints of the time. Landscape was a major theme of his works; he depicted not only scenes of Japan but also those of abroad. This print might have been from his United State series.
This grayscale print depicts what appears to be an abstracted landscape suggestive of a hill on a horizon line. The lower two-thirds of the square composition are quite uniformly black while the upper third becomes increasingly lighter in value. The print shimmers with varying intensity when looked at under direct light as there appears to be mica incorporated in the ink.
This oil painting is horizontally oriented with gray markings. It is surrounded with rose, gold, and mint matting, with a scroll that reads “H. Saftleven”. The actual work depicts a river scene, with a cliff on the shore of a river to the right. On the cliff are buildings, including what looks like the ruins of a castle tower. A tree leans to the right over the edge of the cliff. Ships populate the river, including one at the shoreline.
Herman Saftleven II was born into a family of artists in Rotterdam though he settled in Utrecht in the 1620s where he recorded views of the city. Following a destructive hurricane in 1674, he sold the city a series of drawings of Utrecht churches that he had done before the buildings were destroyed. He was also known for his botanical drawings of the country estate, Vijverhof, near Utrecht.
This work is a double-sided page from a bound album. The painting, depicting a Hindu ascetic walking with his dog in a pastoral landscape, has been placed in a border, decorated with a floral scroll painted in gold on a blue or pale orange ground; a similar border surrounds a calligraphy panel on the reverse side. The border and the calligraphy panel are both somewhat later in date than the painting itself.
The painting of the ascetic and his dog is pasted onto an album page. It is surrounded by a series of gold floral borders alternating blue and saffron-colored backgrounds. Wearing a brown poncho-like garment and carrying a fan in his right hand and a bag of his belongings, the lead attached to his white dog, and some tools in his left, he strides through the landscape. He wears sandals and has long brown matted locks of hair and a graying beard. The landscape consists of intersecting rounded forms in shades of green and yellow, surmounted by trees along the top and with a larger blue-foliaged tree to the right near the horizon. At the bottom a diagonal of yellowish rise of land with clumps of grass suggests some depth and a foreground, but the figure is quite flat in the middle ground.
On the back of the page is a Panel of calligraphy consisting of a quatrain in Shah Jahan's handwriting signed "Sultân Khurram [his given name before he took the name Shah Jahan upon becoming emperor" and dated 1020/1611-12. This is also surrounded by elaborate borders.
A Hindu ascetic, walking with his dog in an idealized landscape, with city buildings visible on the horizon.
This work dates to a pivotal moment in the history of Mughal painting: the year when Jahangir replaced his father, Akbar, as emperor and chief patron of the imperial painting atelier. Both father and son were fascinated by Hindu ascetics, and frequently commissioned their artists to paint their portraits. In this unsigned work, an unnamed ascetic garbed in a flowing brown robe is seen striding purposefully through a landscape of gently rolling green hills, accompanied by his dog. Portraiture featuring a single figure shown in profile is a type that emerged under Akbar (r. 1565–1605), but it was under Jahangir (r. 1605–27) that it acquired greater psychological depth.
Every element of this naturalistic portrait demonstrates the skill and sensitivity of the Mughal artist, from the careful study of foreground plants to the dignity of the saint-like figure and the silhouettes of trees in the distance. The blue and green hues of the landscape are ultimately derived from Persian painting, but the treatment of light and shadow and the close observation of nature have been learned from European art, brought to the Mughal court by Jesuits, diplomats and traders.
A river starts at the bottom of the composition, taking up the foreground, and then winds back into the middle of the composition. A tree on the left bank of the river hangs down over the edge, its leaves almost touching the water. Reflections of the trees and banks can be seen along the edges of the river. In the background is a more heavily wooded area, and some birds can be seen in the sky. One bird is located in the middle of the sky, while a cluster of faintly depicted birds can be seen on the right. The edges of the composition mostly fade into simple hatching and line work, especially along the banks of the river in the bottom corners of the page, and where the trees meet the edges of the page on the left and right.
Haden was a surgeon, and so had no artistic background or education. However, later in his life, he began to study the works of classic engravers, including Rembrandt and Durer. His vigorous study and talent helped to bring about the revival of etching in England, and resulted in the creation of the Royal Society of Painter-Etchers and Engravers. Haden tended to focus on scenes from nature, working directly onto the plate in front of his subjects.
Several travelers are walking up along the mountain path. Some carry heavy goods, and some hold touches. There are trees on the edge of the road. A river flows below cut a steep-sided canyon between the two mountains. The title is written in the red box on the right side of the print, and there is also a yellow box next to it and a red box on the lower left side.
From the 'Vertical Tokaido' series, travelers make their way up the steep climb of Hakone, considered one of the most difficult portions of the Tokaido road. The travelers must also be prepared for attack by roaming bandits.
Print depicting a grey and brown seashore with waves hitting the shore from the left side of the sheet. Grey sky with grey and white clouds take up half of the sky. A black and grey structure with towers and spires is in the top right half.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
On the bottom half of this sketch there is a tree, a house, and a body of water. To the left of this scene there are two red stamps. On the upper half of the sketch there is a mountain and surrounding trees, and to its right are four Chinese characters.
Antique- and aged-looking photograph of a dreamy, perhaps nocturnal landscape. In the foreground a massive tree rises up into the hazy night, and trees recede into the distance. White pock marks give the whole scene, sky and land, an ethereal starry look.
Photograph taken and treated with techniques to make it look antique and aged. The ethereal landscape image of rural Virginia evokes history and the memory of a pastoral past. The subtitle of the piece, Manassas #25, reminds us that this landscape was a Civil War battlefield and makes it seem that the ghosts of the antebellum South and of the Civil War haunt the landscape.