A woman draped in diaphanous drapery sits on a couch facing the viewer. The arm of the couch is visible at the left of the image and the woman glances down towards her knees. To the right is a flower-like form that is the artist's "butterfly" signature.
Draped figures were important to Whistler's work, reflecting his interest in Asian drapery as well as Greek 'tanagra' terracotta figurines that had become popular in Victorian England.
Whistler was asked by André Marty to submit a lithograph to Marty's publication, "L'Estampe Oiginale"; this image was the one that Whistler selected to be included in that French publication. As Whistler wrote to his printer Thomas Way, "The little sitting figure in drapery I am immensely pleased with...The work is beginning to have the mystery in execution of a painting."
The animals are presented in zodiac sequence, from right to left: mouse, ox, tiger, hare, dragon, serpent, horse, goat, monkey, chicken, dog, and boar. The eight-fold screen allows the animals to seem to walk across the space. Negative space plays a significant role in the screen, creating a place for the animals to exist and at the same time extending into the room.
The twelve animals of the Chinese zodiac, who represent not only the sequence of years but also the times of the day and directions of the compass, have a history that dates back at least two thousand years. From China this calendrical system spread throughout East Asia, and it is still in use today despite the adoption of a Gregorian calendar and modern clocks.
The minimal background of a few plants reinforces the concept of a natural cycle that moves through the seasons from spring (bamboo shoots and pinks) through autumn (chrysanthemums and pampas grass).
In the lower left corner, two women are seen seated out of doors conversing in a park-like setting. In the middle distance is a large sculpture on a raised pedestal. Grouped around the sculpture are other small gatherings of people in conversation. Behind the figures and sculpture is the loose indication of trees.
Set in the Luxembourg Gardens of Paris, this scene does not describe the imposing terraces and stairs, but a quiet cul-de-sac where groups of people are quietly talking.
Whistler had considered offering this work for inclusion in "The Art Journal" but there was concern that the softeness of the stump, particularly visible in the trees behind the statue, would not allow for a large edition necessary for the publication.
Dollhouse replica of a two-storey Victorian-style flat in the East End of London. The façade is red brick with white molding. The upper storey has two tall windows that face onto the street; the door into the flat is on the left, and to the right of it is a large bay window. The split-level interior holds a bedroom and parlor, both of which are decorated with wallpaper and furnishings, including cabinets, chairs, tables, fireplaces, and a canopy bed. Reproductions of paintings by Shonibare and Jean-Honoré Fragonard hang on the walls. A seal on the right-facing outside wall reads: “Yinka Shonibare, artist, lives here.”
Every year since 1988, art collector, software entrepreneur, and MoMA trustee Peter Norton has commissioned an art edition to celebrate the Christmas season and holidays.
Shonibare’s dollhouse was part of the 2002 Peter Norton Family Christmas Project, and can be purchased online for $750 at http://www.momastore.org/.
As in many of Shonibare’s other works, “Dutch-wax” dyed fabrics commonly found in Western Africa figure prominently in the dollhouse, from the upholstery of the chairs and bed-coverings to the wallpaper, and reflects the West African [Nigerian] heritage that has been at the heart of his work since he started exhibiting in 1988. Generally perceived as “authentic,” Shonibare uses such material as a way of deconstructing the more complex histories that determine these and other images of ethnicity. (Oxford art online)
This colored engraving features what appear to be three generations of women in elaborate dress in an interior space. A young girl in a brown dress is positioned with her back to the viewer on the left of the composition. She presents an object to a woman in a blue-grey dress who is seated in the center of the composition holding a piece of paper in her right hand. A young woman in a dark and pale turquoise dress stands on the right of the composition looking down at the child. Between the two adult figures is a table decorated with a vase of pink flowers.
A fashion print of a seated woman with a letter accompanied by a standing woman in a blue dress and a young girl in a brown dress.
Primitive painting depicting three sailboats in the foreground, and figures sitting around tables and standing on a lawn in the middle ground, with two houses in the background.
The Famous Picnic at Val Kil documents the racially integrated picnic at which President Franklin Roosevelt and his wife, Eleanor, entertained the King and Queen of England at their estate in Hyde Park, New York on a Sunday afternoon on June 11, 1939. Many believed the Roosevelt administration introduced equal opportunities for minorities, and for many the picnic at Val Kil symbolizes the beginning of equal rights. As an African American woman living during the Roosevelt presidency, Anne Murfee Allen undoubtedly found particular significance in the event at Val Kil.
The nude figures of four women, a man, a winged boy, and numerous putti stand in front of a curtained bed. The man stands near the center of the crowd and gasps, apparently in shock, as his jacket is pulled off by the young boy behind him. The woman seated on the bed beckons toward the man.
Venus exposes and unmans the war god Mars in this print. The goddess of love, nude except for a girdle cinched around her torso, sits on a bed on the left with her back to us and raises her right hand to command that Mars be disrobed. The war god stands powerless before her as Cupid pulls off his shirt and putti toy with his armor and weapons. Stripped of the outward trappings of aggressive masculinity, the god’s vaunted maleness is revealed in its true, diminutive proportions. The Three Graces, goddesses of beauty, charm, and joy, crowd around Mars and Venus and witness the revelation.
This painted panel depicts an intimate domestic setting consisting of a bedchamber with a fireplace and a smaller vaulted antechamber that opens out on a garden. A haloed woman wearing a white veil rests in bed, having recently given birth. She leans to her right as she reaches toward a basin held by an attendant and looks across the room to the infant who is held on the lap of another servant. A halo also encircles the head of the child and a pair of angels fly above her. Several other attendants and midwives bustle about the room, while another woman, more richly clad than the servants, gazes on the child from her seat at the foot of the bed. In the antechamber sits a haloed man in a long white beard, who leans forward to hear news of the birth from the child standing in front of him. A companion sits behind him and a servant passes through the door into the bedchamber.
A comfortable household provides the setting for the birth of the Virgin Mary depicted in this panel. St. Anne, Mary's mother, lies in bed and turns to gaze toward her daughter, who is held on the lap of an attendant sitting by the fire. Other attendants and midwives move about the room while a more richly clad woman, possibly St. Elizabeth, sits at the foot of the bed, looking at Mary. In the antechamber the haloed figure of Joachim receives news of the birth from the child standing before him.
In the foreground, a group of several figures, dressed in graeco-roman clothing, surround a man lying in bed. The setting has classical architectural components such as columns and pediments and a large stone sundial in the upper left corner. The figures are painted in bright colors (blue, white, gold and red) but the rest of the composition is painted in muted colors (gray, brown, dark green). Most figures are gazing up at the sundial.
This narrative painting depicts a scene from the Old Testament (2 Kings 20:1-11) account of the illness and cure of Hezekiah, 13th King of Judah. After being told by the prophet Isaiah that he will die, Hezekiah prays to God. Isaiah receives word from God that the king will recover in 3 days and be granted 15 more years of life. As a sign that this will happen, God causes the shadow of the sun on the sundial to go backwards.
In this painting, a group of men are gathered around the bed where King Hezekiah lies ill. Three men are talking to each other, but the rest, including the king, are staring and gesturing toward a large sundial in the upper left corner of the scene. The prophet Isaiah, in a white cloak, stands at the top of the stairs, above the group.
Although the subject matter is a biblical story, the setting and clothing of the figures is Graeco-Roman.
Sketch of a standing male figure outlined in dark blue spray paint to the left of a color rendering of the same male figure outlined in light blue standing next to a chair. The name “DAVID” stenciled at bottom left of center. Composed of various materials, including patent leather, felt, plastic, wool and spray paint on canvas.
“Napoleon Standing Next to a Chair” is a re-working of Rivers’ 1964 piece “The Greatest Homosexual,” which was based on Jacques-Louis David’s 1812 “Napoleon in His Study,” and executed using the artist’s signature gestural handling of the figure and characteristic silhouettes. The reinterpretation is both an homage to and a parody of David’s Old Master painting, exposing self-important state portraiture as kitschy political propaganda.
Six figures, women and girls, sit or stand in front of a balustrade. On the left side is an urn holding a plant; the upper portion of a young tree projects above the balustrade at center; in the distance on the right appears the upper portion of a building with a mansard roof
Whistler's lithographs of the Luxembourg Gardens often focused on groupings of mothers or nannies and their charges. In this image, the group of women and girls before the terrace balustrade are vignetted with only cursory indication of setting.
In the lower third of the hanging scroll are three figures. Tao Yuanming is the larger figure on the right with his two attendants on the left. They are divided by a table. In the background is a screen which separates the figures from the landscape.
The subject of this painting is the Chinese poet Tao Yuanming, famous for pastoral poems about nature and agrarian life. Though a qualified scholar-official, he rejected the rewards and obligations of a government position, preferring to devote himself to pastoral pursuits. Tao Yuanming’s renunciation of money and power and love of nature became the archetypal values for Chinese intellectuals and artists. In this painting he is attended by two pupils, one holding a tray with an ink stone, water, and brush, and the other holding a bundle of blank scrolls for the inscription of poems. Beside him is a guqin, a seven-string Chinese musical instrument of the zither family favored by scholars and literati.
Signed in graphite, l.l.: butterfly monogram Signed in stone, on tablecloth in image: butterfly monogram Verso, inscribed in graphite, LL corner: "a 23958"; LL: "APG 13354"; LR corner: "# 654/ a u" Unidentified watermark (see file for sketch).
Figures are seen seated out of doors around a table in a garden. The table is set with a tea and coffee service and cups and saucers; behind the figures is a screen of trees.
This intimate gathering is set in the garden of Whistler's house in Cheyne Walk. Drawn most likely in June of 1891, the scene depicts the following people: Mrs. Brandon Thomas, Walter Sickert (standing), Sidney Starr, Brandon Thomas, Beatrix Whistler, Ethel Birnie Philip.
A woman in the center being crowned. There are angels surrounding her. Christ on a thrown is blessing her.
This was a popular theme in religious Christian imagery from the 13th to the early 16th centuries. This work depicts a heavenly space where a throned Christ is blessing the Virgin Mary, who is being crowned. In other variations, Christ is shown placing the crown on the head of the Virgin. Though this is not a scene described in the Christian Bible's New Testiment, it has been a popular story since the early 12th century when the idea of that the Virgin was the "Queen of Heaven."