This black silk crepe kimono is decorated with chrysanthemum motifs, and has an inner red lining.
The technique used to create the design on this kimono is yuzen, developed in 17th century Japan. Yuzen require much skill and hard work, by first protecting the design area with a rice-paste resist and dying the rest of the cloth. Afterwards, the resist is removed and the design and details are hand-painted.
Horizontal landscape of a misty harbor view with several small boats in distance near center
Quickly executed oil sketch depicting Jamaica Bay, a shallow inlet of the Atlantic on the southwestern shore of Long Island between the New York City boroughs of Brooklyn and Queens.
While the simplicity of the composition may arise from the informal nature of the sketch itself, it also reflects the shift in taste at that time away from the elaborate, minutely detailed, and geographically specific landscapes for which Church is best known.
Inscribed: in plate, in margin below image: Né en 1615. Inscription in plate: SEBASTIAN BOURDON/ de Monpellier [sic] Peintre ordinaire du Roy, Recteur en son /Académie de Peintre et de Sculpture /gravé par Laurent Cars pour sa réception à l'Académie en 1733.
A young man with long hair looks over his shoulder at the viewer through an illusionistically described stone octagonal aperture. A heavy satin cloth cascades from his right shoulder towards the viewer and through the opening. On the near side of this rusicated aperture are the palette, brushes, drawing folio and a book, indentifying the sitter as an artist, the identification further secured by the canvas on an easle seen behind the figure.
In order to be admitted to the Académie Royale, portrait engravers were required to create two engraved portraits. This portrait of the painter Sébastien Bourdon was one of the prints Cars produced as his reception piece to gain admittance to the Académie as an engraver. The conventions that governed official portraiture from the period are evident in this engraving, which is after a painting by Hyacinthe Rigaud now in the Städelsches Kunstinstitut, Frankfurt. The figure is framed within an octagonal stone frame surrounded by the materials of his profession: easel and canvas, paper, palette, brushes, and a book. Another feature common to these portraits was the use of drapery, either inside the framework or outside of it. Cars’ ability to denote different textures is evident in this work: the velvet coat and waving hair contrast with the sheen of the satin drapery, which cascades across the stone frame forward into the viewer’s space.
63.6 cm x 51.7 cm x 1.8 cm (25 1/16 in. x 20 3/8 in. x 11/16 in.)
A drawn portrait of a woman. She is sitting faced away from the artist but looks over her left shoulder at him to pose. There is detail in her face and hair but that detail gradually decreases below her shoulder and in her clothing.