Incense container in the shape of a plum blossom. The container consists of two halves opening horizontally, with the top of the container being very textured with a pattern of ridges. The container is bi-colored, with a whitish gray and reddish orange coloring.
This is an incense container in the design of a plum (ume) bloosom. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
This print, as the title indicates, portrays woodpeckers percehed on the side of a tree.
Kawano Kaoru is considered a member of the Creative Print (sôsaku hanga) movement, a group of artists dedicated to bringing individualism, experimentation, and autonomy to Japan’s centuries old ukiyo-e tradition. His works are often highly abstracted, using simple lines and shapes to depict the subject.
This is a black and white photograph that shows a woman and a man standing on a sidewalk in front of a doorway. The woman, closest to the viewer and shown in profile, is bending over and reaching behind to adjust her skirt. The man is standing with arms raised to adjust his collar before putting on his sportcoat.
This is one of a series of photographs of Ferrato's neighborhood in New York City - TriBeCa (Triangle Below Canal). Her images explore this historical area of Manhattan by depicting its people and places as it is developed into one of the trendiest zipcodes in the city - 10013.
This is a watercolor painting in a vertical format painted in bright colors of red, blue, yellow and green. In the foreground, there is a group of men working around the base of a tall pole from which hangs a large red flag or banner. Behind the men is a backdrop of red drapery and to the side, a wooden staircase. There are buildings in the background with yellowish brown walls and green roofs.
The subject of this street scene is unknown. Jean Paul Slusser was professor of drawing and painting at the University of Michigan and was appointed the first director of the Museum of Art in 1946.
This piece depicts boats decorated with lanterns, the evening sky and festivities. The shore is lined with teahouses set up for the event. The title for the print is located in the upper right corner in a red box.
The series Rokujuhoshu meisho zue depicts a famous place from each of the 68 provinces and the capital, Edo. Each of the 69 prints in this series, and the contents page, is a vertical composition.
In Tsushima, Aichi Province, on June 14th and 15th a festival is held, called Tenno Matsuri. Teahouses like the ones seen in this print would have been set up along the riverbank for the occasion in honor of the deity Gozu Tenno. This piece depicts boats decorated with lanterns, which would normally have close to 400 paper lanterns, decorating the evening sky and festivities. This particular arrangement is based off of the 1844 illustration "rokugatsu jyuyon nichi yuu" by Odagiri Shunko, from Owari Meisho Zue.
The scene depicts a group of figures marching in the foreground from the left to the right of the composition. A thin sliver of land can be seen in the background. A man in the center carries a scythe over his shoulder. A woman in the center right carries a child on her back.
In 1893, Kollwitz attended a performance of Gerhart Hauptman's The Weavers, which described an uprising of Silesian weavers brought about by industrialization in England. The play was banned due to its ties with a similar uprising in Berlin due to industrialization. Kollwitz's set of prints The Weavers' Revolt were created to depict the plight of oppressed migrant workers during Germany's industrialization.
This is a color woodblock print of a courtesan and her two attendants. They are walking toward the left. The courtesan wears red and brown kimono with geometric designs and a pink cloak with plum tree and cloud design. Her green obi (sash), tied in front, has peacock feather and geometric patterns. Her hair is sculpted in the shape of “lantern” style, with the broad wings to the side of the head. Three large tortoise-shell comb and four pins adorn the hair. The two young attendants wear matching clothes and hair accessories; their kimono design has the same plum and cloud patterns as the courtesan but in brownish colors. Their obi is in green color with wavy stripes, loosely tied on their backs. They also have tortoise shell combs, hairpins, and ornaments in the shape of pine leaves. One attendant is looking at a ground, and other attendant toward the right. All three wear high platform sandals. There are artist’s signature and publisher’s seal on the lower left corner, as well as the title on the upper right corner.
Traditionally the famous beauties of the Yoshiwara entertainment quarter in Edo would parade under the cherry blossoms every spring in the newest fashions. Here we are shown the reigning courtesan of the Chôjiya house, Karauta, accompanied by two young attendants, Matsuno and Takeno, in matching costumes. Note the new "lantern" hairstyle, with the broad wings to the side of the head. This print serves as an advertisement for the attractions of the Chôjiya tea house— and quite possibly for the shop that provided the costumes as well. Print designers often worked as textile designers on the side, and images such as these would appeal to women as the equivalent of the latest issue of Vogue.
(Adopted from M. Graybill, "Courtesans, Cross-Dressers, and the Girl Next Door Images of the Feminine in Japanese Popular Prints" 3/9 - 9/1/02)
On the stone, l.l.: Butterfly monogram Signed in pencil, l.l.: Butterfly monogram Inscribed in pencil, verso, l.l.c: w23 (Nesta Spink believes that this impression was sold out of the exhibition at the Fine Art Society. In that exhibition "Early Morning" was cat. no. 23. Inscribed in pencil, recto, l.r. margin: c4803 Inscribed in pencil, recto, l.r.c.: 19
Two men sit on a bench at the lower right. Behind them is a large expanse of water; barges ply the water while smokestacks and buildings are visible on the opposite shore. The overall impression is one of foggy weather and features are generally indistinct.
Whistler found that liminal times of day offered effects that he could translate into a particularly appealing visual poetry. Many of his works sited from the part of Chelsea where he lived looked across the Thames towards the industrial establishments of London; these unpromising views were transformed by his atmospheric and evocative portrayals.
Large color photograph depicting a grouping of eight boys in a triangular horizontal arrangement parallel to the picture plane wearing navy blue hooded coats. Figures are grouped around a large boulder in a wooded area feasting on sliced white “Wonder” bread.
Grouping of eight seemingly young boys arranged in a horizontal frieze wearing what is indicative of Catholic school boy hooded coats or uniforms. In a wooded area grouped around a large boulder feasting on sliced white “Wonder” bread. Each figure is an image of the artist, who “cloned” himself by using Photoshop to digitally manipulate the image.
While hinting at the past and early Freudian developmental stages of youth, "Last Supper" also references new medical breakthroughs in gene cloning with biting cynicism and humor.
In the middle of a wooded setting is a woman carrying a child on her back. A few sheep surround her, with a lamb in the center left foreground. A boy stands at the right side of the composition. The trees and the clothing of the figures are mostly in shadow.
Costigan often used his wife and children as subjects in his works. He tended to portray rural settings, and his use of line in this print infuses the bucolic scene with vitality and movement.
Several pink and white buds dominate the center of the image. The flowers are arranged in a curved form that goes counterclockwise from top to bottom. They are on a dark green backgound.
These woodblock prints are from the series Rankafu (A Record of an Orchid Collection), which was commissioned by adamant orchid cultivator and enthusiast Kaga Shôtarô during the early 20th century. Kaga had fallen in love with orchids years before in 1917 while mountaineering in Java. Due to the economic hardships placed on Japan after losing the Second World War, Kaga was concerned about the survival of his orchid collection in Kyoto at his Villa Oyamazaki, which at its peak had housed 10,000 plants. Kaga selected woodblock printing as the appropriate method to capture the memory of his orchids. He enlisted the skilled painter Ikeda Zuigetsu, to execute this momentous task. Ikeda created the drawings from which the woodblocks were carved. Sadly, Zuigetsu passed away in 1944 before the completion of the project, and due to Kaga’s falling fortune after the war, only 83 works were printed. Kaga managed to publish three hundred copies, many of which were sent to various scientific institutions such as botanical gardens and universities all over the world. Recently a reprint of the original edition has been released in Japan.