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795 | 2fa88251-065a-8c94-d918-63bfd5c866c0 | Rectangular, mostly brown textile made up of many small fabric squares of the same pattern, featuring flora and fauna in green, blue, and cream. | null | null | null | Kesa |
1,936 | 1733f6b2-2cac-e8fe-4ecd-c0587da78b30 | A work made of silk, plain compound cloth. | null | null | null | Fragment |
4,425 | 0da94f5f-4be8-a3d0-00c0-53d48ad4a2cf | A work made of color woodblock print; chuban. | null | null | Utagawa Hiroshige | Kyoto: The Imperial Palace (Kyo, Dairi), from the series "Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi)," also known as the Tokaido with Poem (Kyoka iri Tokaido) |
5,431 | 121a5968-7d19-5879-8974-b6a6bdaa5d1f | A work made of black crayon, with touches of charcoal, on grayish-ivory wove paper. | null | null | László Moholy-Nagy | Seated Woman II |
8,101 | c24feb4e-d7f5-791e-58ee-5db1a40d0a0d | A work made of cotton, plain weave; drawnwork and embroidery
in cotton, satin, buttonhole, chain, and double chain stitches with linen thread. | This apron mimics lace in its play of translucence and opacity. Fine sheer cotton muslin, imported to Europe from India, played a crucial role in fashion starting in the 1780s, but in this earlier example the embroidery motifs worked on the muslin are drawn from a traditional English vocabulary of stylized flowers. No ordinary kitchen apron, this accessory would have formed part of an elegant ensemble for a stroll in the park. | This apron mimics lace in its play of translucence and opacity. Fine sheer cotton muslin, imported to Europe from India, played a crucial role in fashion starting in the 1780s, but in this earlier example the embroidery motifs worked on the muslin are drawn from a traditional English vocabulary of stylized flowers. No ordinary kitchen apron, this accessory would have formed part of an elegant ensemble for a stroll in the park. | null | Apron |
10,393 | 357c901c-c54f-079c-0c29-d3be0a021ed4 | A work made of porcelain painted in underglaze blue. | null | null | null | Deep Dish with Peony, Pine Branches, Plum Blossoms, Chrysanthemum, Cherry, and Lotus Flowers |
10,924 | 179ae0da-8834-7c92-3b25-377a08dac9e4 | A work made of blown glass. | null | null | Artist unknown | Cream Pitcher |
11,460 | b84f047e-f871-48c5-6bbf-618731650105 | A work made of engraving in black on ivory laid paper. | The ', <a href='https://www.artic.edu/artists/43489'>deck of fifty</a>, ' so-called ', <em>Tarocchi</em>, ' are not tarots in the modern, fortune-telling sense, nor were they intended as playing cards. No cut-out impressions mounted for play are known, and they lack the suits and numbers of a regular deck. Instead, these delicately engraved didactic allegories are grouped in five numbered ranks describing the workings of the spheres of man, the muses, the liberal arts, the cosmos, and the heavens in order of increasing significance, and offer a didactic sequence to educate courtly youths or possibly university students, who could have used them as flashcards or a pamphlet. | The ', <a href='https://www.artic.edu/artists/43489'>deck of fifty</a>, ' so-called ', <em>Tarocchi</em>, ' are not tarots in the modern, fortune-telling sense, nor were they intended as playing cards. No cut-out impressions mounted for play are known, and they lack the suits and numbers of a regular deck. Instead, these delicately engraved didactic allegories are grouped in five numbered ranks describing the workings of the spheres of man, the muses, the liberal arts, the cosmos, and the heavens in order of increasing significance, and offer a didactic sequence to educate courtly youths or possibly university students, who could have used them as flashcards or a pamphlet. | Master of the E-Series Tarocchi | Philosophy, plate 28 from Arts and Sciences |
11,785 | 04ed0f69-131f-bf49-b791-22e9cb692adb | A work made of etching and drypoint in black on ivory laid paper. | null | null | Donald Shaw MacLaughlan | A Lion |
12,707 | 22306679-f60a-1c18-4a7f-08720d17aab2 | A work made of cotton, mixed lace: bobbin lace of a type known as "duchesse" with insets of needle lace of a type known as "point de gaze". | null | null | null | Stole |
12,996 | 1ca3bcb3-96c4-86e9-95a3-3eda06d43f13 | A work made of engraving on paper. | null | null | Gérard Edelinck | Nathanael Dilgerus |
15,221 | 264844f6-8c7d-2380-0b82-2d635bf70255 | A work made of (black) leather (toe originally longer end turned up). | null | null | null | Girl's Shoe |
17,252 | fc06dc79-1aaf-082e-219a-04ce019c1caf | A work made of lithograph with tusche on gray wove paper laid down on white wove paper. | null | null | Edvard Munch | Young Woman from the Latin Quarter |
17,736 | 00e67451-6e3c-1602-58e2-f917d8d43e87 | A work made of charcoal on tan wove paper. | null | null | Max Pechstein | Factory |
18,997 | fe5f6428-f21f-5ec5-c7c6-fd05f9d7cfa3 | A work made of color woodblock print; oban. | null | null | Utagawa Hiroshige | Night Rain at Karasaki (Karasaki yau), from the series "Eight Views of Omi (Omi hakkei no uchi)" |
19,794 | 27d96e52-9211-9cf1-7c48-02aec15f740b | A work made of lithograph on ivory wove paper. | null | null | Rico (Frederico) LeBrun | Inferno Series E |
19,959 | 1551a615-73b0-206c-daa2-bcb3dee2f727 | A work made of etching and drypoint with foul biting in black ink on cream laid paper. | null | null | James McNeill Whistler | The Little Lagoon |
20,401 | 1d6d585b-9924-122a-c563-46d4d8f29b22 | A work made of pen and black ink, with brush and gray wash, and watercolor, over graphite, on buff laid paper. | null | null | Filippo Juvara | Design for an Altar in the Church of the Confraternity of Santissima Trinita, Turin |
21,346 | 0738dff5-6225-10b0-bc17-49492271968f | A work made of dehua ware (blanc de chine); porcelain. | null | null | null | Bottle-Shaped Vase with a Lizard |
21,550 | 40694d77-c9d7-d861-e201-4228e99316e7 | A work made of lithograph in black on white wove paper, with letterpress verso. | A favorite of Daumier’s, this print is a play on traditional genre scenes, comically at odds with the sense it portrays. “Sight” is represented by a nighttime stroll alongside the River Seine, with Notre Dame emerging hazily from the darkness. The clearest object is the moon, represented by a curve of unmarked paper, in stark contrast with the heavily shaded image. The moon’s prominence only deepens the print’s irony: a crescent moon is traditionally a symbol that a husband has been cuckolded by his wife, suggesting that the man in the print cannot see what is right before his eyes. | A favorite of Daumier’s, this print is a play on traditional genre scenes, comically at odds with the sense it portrays. “Sight” is represented by a nighttime stroll alongside the River Seine, with Notre Dame emerging hazily from the darkness. The clearest object is the moon, represented by a curve of unmarked paper, in stark contrast with the heavily shaded image. The moon’s prominence only deepens the print’s irony: a crescent moon is traditionally a symbol that a husband has been cuckolded by his wife, suggesting that the man in the print cannot see what is right before his eyes. | Honoré-Victorin Daumier | Sight, plate 39 from Types Parisiens |
21,740 | ffc94295-939f-e686-083d-32f11164cc33 | A work made of color woodblock print; oban triptych. | null | null | Torii Kiyonaga | A Party Viewing the Moon Across the Sumida River |
21,972 | 252300fe-5c24-5056-99ba-171a8db76ed6 | A work made of color woodblock print; hosoban. | null | null | Katsukawa Shunsho | Actor Nakamura Sukegorô II as Ninja Aso no Matsuwaka in “The Genji Clan Now at Its Zenith” (“Ima o sakari suehiro Genji”) |
22,166 | 09d21550-d7bb-e624-ffea-293dea03d571 | A work made of color woodblock print; hosoban; right sheet of diptych (?). | null | null | Katsukawa Shunkо̄ | The Actor Bando Mitsugoro I as Ogata no Saburo Disguised as Yoroya Takiemon in the Play Mure Takamatsu Yuki no Shirahata, Performed at the Ichimura Theater in the Eleventh Month, 1780 |
22,793 | 302e2fdd-3359-d11c-cae4-bcf9350a8732 | A work made of color woodblock print; right sheet of oban diptych. | null | null | Torii Kiyonaga | The Actors Ichikawa Danjuro V as Hige no Ikyu, Nakamura Riko as Agemaki, and Ichikawa Ebizo as Agemaki's attendant in the play "Sukeroku Yukari no Edozakura" at the Nakamura Theater in the third month, 1784 |
24,552 | 30ebf39b-820a-a98c-3317-2b4eb6ecc146 | A work made of bronze gilt. | null | null | In the manner of Pierre Gouthière | Pair of Candelabra |
25,374 | 329b85e4-2865-1281-feeb-5c0ab47e500e | A work made of etching in black on ivory laid paper. | This etching might represent two related proverbs popularized by the philosopher/writer Erasmus in the mid-1500s: “He who chases two hares catches neither” and “A hare yourself, you hunt for prey.” In compositional terms, the proverb served Pieter Bruegel the Elder as more of a pretext for the sweeping landscape scene that occupies most of the printed field. | This etching might represent two related proverbs popularized by the philosopher/writer Erasmus in the mid-1500s: “He who chases two hares catches neither” and “A hare yourself, you hunt for prey.” In compositional terms, the proverb served Pieter Bruegel the Elder as more of a pretext for the sweeping landscape scene that occupies most of the printed field. Bruegel’s inf luence on the early development of the landscape genre cannot be overestimated. He created important landscape drawings, but his impact spread even more forcefully through the medium of printmaking. This is the only etching he is believed to have executed himself. | Pieter Bruegel, the elder | The Hare Hunters |
25,597 | f3bd78e7-a27f-2535-5602-fdb39d230da2 | A work made of color woodblock print; oban. | null | null | Utagawa Hiroshige | Hara: Mount Fuji in the Morning (Hara, asa no Fuji), from the series "Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi)," also known as the Hoeido Tokaido |
26,145 | faded2cf-0148-8f67-1430-265126f5a978 | A work made of linen, raised needle lace. | null | null | null | Border |
26,794 | 0754f7b3-e6bf-e819-8466-68c1e4eef82f | A work made of color woodblock print; oban. | null | null | Kitagawa Utamaro | Hanaogi of the Ogiya, from the series "Renowned Beauties Likened to the Six Immortal Poets (Komei bijin rokkasen)" |
27,907 | 0fec1b3c-5efd-b4b3-99f6-f6d2eceff5e9 | A work made of etching on paper. | null | null | Giovanni Francesco Grimaldi | Two Men on a Mountain Top |
28,829 | 237fb317-8cc6-70b5-f8fc-e038f77902fa | A work made of etching and engraving on verdâtre (greenish) laid paper. | null | null | Charles Meryon | The Clock Tower, Paris |
29,581 | 0b80c261-d668-ece5-43d6-f76b59207a18 | A work made of color lithograph on cream wove paper. | null | null | Frederic Charles Herrick | Where to Spend Your Holiday |
30,184 | 56b1e059-ded8-b816-2b63-6c1420886780 | A work made of fritware, underglaze-painted decoration. | Sultanabad wares were known for their distinct style of decoration, namely the loose unconnected foliage used as a background for a central figure rather than a landscape. While this vessel is typical of Sultanabad wares, it also hints at Chinese influences introduced under the Mongols. The lotus flower, a popular symbol in China associated with purity, appears here just above the back of the central animal figure. The lotus was frequently represented in Islamic contexts, though most likely without the rich associations held by Chinese cultures. | Sultanabad wares were known for their distinct style of decoration, namely the loose unconnected foliage used as a background for a central figure rather than a landscape. While this vessel is typical of Sultanabad wares, it also hints at Chinese influences introduced under the Mongols. The lotus flower, a popular symbol in China associated with purity, appears here just above the back of the central animal figure. The lotus was frequently represented in Islamic contexts, though most likely without the rich associations held by Chinese cultures. | Islamic | Bowl |
30,401 | 852ae95d-7fbc-1383-8936-a5bd99a5c614 | A work made of etching and drypoint in blue ink with plate tone on white wove paper. | Although her primary focus was painting and drawing, at the School of the Art Institute of Chicago Suellen Rocca decided to minor in printmaking, taking courses with Vera Berdich, who taught etching. While still a student Rocca married a jeweler and became fascinated with gems and settings. In this etching inspired by jewelers’ catalogs, she transformed rows of gemstones and miniature figures into an ordered script reminiscent of ancient pictograms. | Although her primary focus was painting and drawing, at the School of the Art Institute of Chicago Suellen Rocca decided to minor in printmaking, taking courses with Vera Berdich, who taught etching. While still a student Rocca married a jeweler and became fascinated with gems and settings. In this etching inspired by jewelers’ catalogs, she transformed rows of gemstones and miniature figures into an ordered script reminiscent of ancient pictograms. | Suellen Rocca | Rings |
30,840 | ffa581b9-929c-a639-31a5-f2c407e30c7c | A work made of gelatin silver print, from the portfolio "photographs: rhode island school design, 1967–68," edition 101/150. | null | null | Brian Pelletier | Off Rte. 195, Mass. No. 3 |
31,413 | 0d781f3d-bb8d-5234-fcb6-f10084db9cbc | A work made of color woodblock print; hosoban. | null | null | Katsukawa Shunsho | The Actor Nakamura Nakazo I as Prince Takahiro in the Play Date Nishiki Tsui no Yumitori, Performed at the Morita Theater in the Eleventh Month, 1778 |
31,826 | 0b26b98d-7b0b-c01a-6fe7-d0972d993527 | A work made of silver. | null | null | Loring Bailey | Snuff Box |
32,070 | 33d2c37e-a023-e31e-7710-741a01234476 | A work made of albumen print, plate 47 from the album "photographic views of the sherman campaign" (1866). | null | null | George N. Barnard | Savannah River, near Savannah, GA |
32,344 | 12a0eac8-a777-9408-db84-870905a68855 | A work made of color woodblock print; hosoban. | null | null | Katsukawa Shunjо̄ | The Actor Matsumoto Koshiro IV as Sukeroku in the Play Sukeroku Yukari no Edo-zakura, Performed at the Ichimura Theater in the Sixth Month, 1782 |
32,551 | 35f70046-333e-5d66-5f14-31159e9d3325 | A work made of color woodblock print; hosoban. | null | null | Katsukawa Shun'ei | Actor Ichikawa Komazô III as Nyosan no Miya (The Third Princess), Ukare Zatô (A Blind Street Performer), and Sakata no Kaidô-maru in “Expanded Summer Festival” (“Zôho natsu matsuri”) |
33,528 | 11cf37b2-ec03-7468-81f8-20e9eac5b9c9 | A work made of color woodblock print; section of harimaze sheet. | null | null | Utagawa Hiroshige | Sakura Island and Osumi Province (Osumi Sakurajima, section of sheet no. 18 from the series "Cutout Pictures of the Provinces (Kunizukushi harimaze zue)" |
34,140 | 42fd7897-b978-6f76-5f49-b3028384644d | A work made of gelatin silver print. | Lucien Clergue made most of his photographs—principally nudes, portraits of artists, landscapes, and images of bull-fighting—close to his native home of Arles. Like his friend and mentor Pablo Picasso, Clergue had long been fascinated by the rituals of bullfighting, which combined grace and art with violence and danger. He began photographing the great bullfighter and Spanish popular hero known as El Cordobés in 1963, soon publishing a book that showcased the matador’s theatrical style. In 1970 Hugh Edwards acquired six of Clergue’s photographs, and that summer he mounted an exhibition on the artist. This photograph, taken from a ground-level position that emphasizes the bull’s seeming anguish over the man’s exertions, was showcased on the exhibition’s printed announcement. | Lucien Clergue made most of his photographs—principally nudes, portraits of artists, landscapes, and images of bull-fighting—close to his native home of Arles. Like his friend and mentor Pablo Picasso, Clergue had long been fascinated by the rituals of bullfighting, which combined grace and art with violence and danger. He began photographing the great bullfighter and Spanish popular hero known as El Cordobés in 1963, soon publishing a book that showcased the matador’s theatrical style. In 1970 Hugh Edwards acquired six of Clergue’s photographs, and that summer he mounted an exhibition on the artist. This photograph, taken from a ground-level position that emphasizes the bull’s seeming anguish over the man’s exertions, was showcased on the exhibition’s printed announcement. | Lucien Georges Clergue | El Cordobés |
34,716 | 0412a100-fc2e-b801-78f9-eb4c3d7aafb0 | A work made of color woodblock print; double-page illustration from book. | null | null | Suzuki Harunobu | Double-page Illustration from Vol. 1 of "Picture Book of Spring Brocades (Ehon haru no nishiki)" |
36,783 | 01f2ed67-bb9a-cedd-ce46-e98fa9c061a6 | A work made of photogravure, from "the mexican portfolio" (1967). | null | null | Paul Strand | Young Woman and Boy, Toluca |
37,032 | 1412194f-44dd-8a70-ac8d-a055d0a05d12 | A work made of color lithograph on white wove paper. | null | null | Richard Hunt | Ravinia |
40,189 | 164710f1-4955-5243-271f-524ebc8b6881 | A work made of color lithograph on off-white wove paper. | null | null | Misch Kohn | The People |
41,768 | 368c4139-8085-435a-7be0-ea0763b8846f | A work made of lithograph on off-white wove paper. | The painter and printmaker Dominique-Vivant Denon excelled in quick sketches of people and monuments. In 1798 he accompanied a French expedition to Egypt, documenting architectural settings for many of the artifacts Napoleon acquired. Back in France, Denon produced numerous lithographs in the same lively manner and hosted gatherings in which guests attempted to produce lithographs themselves. Here the group admires the skill of one of Denon’s female guests, possibly also his pupil. Unusually, she draws a muscular naked man on her thin lithographic stone. In this period, women receiving professional academy training did not study from the nude, yet this amateur exudes pride in her accomplishment. | The painter and printmaker Dominique-Vivant Denon excelled in quick sketches of people and monuments. In 1798 he accompanied a French expedition to Egypt, documenting architectural settings for many of the artifacts Napoleon acquired. Back in France, Denon produced numerous lithographs in the same lively manner and hosted gatherings in which guests attempted to produce lithographs themselves. Here the group admires the skill of one of Denon’s female guests, possibly also his pupil. Unusually, she draws a muscular naked man on her thin lithographic stone. In this period, women receiving professional academy training did not study from the nude, yet this amateur exudes pride in her accomplishment. | Dominique-Vivant Denon | Lithography Lesson |
42,779 | 22ddde1f-d78b-7dac-440b-a5072e9ab34b | A work made of porcelain with copper red peachbloom glaze. | null | null | null | Red-Glazed Bottle Vase |
43,225 | f596c760-dd28-7bdc-ae72-e020402e6f0e | A work made of etching in black on cream wove paper. | null | null | David Wilkie | Charles James Fox on the Hustings at Covent Garden |
43,543 | 24d68049-de4a-f07a-bfd3-dc6c71fc9948 | A work made of glass; lampwork (verre de nevers), metal armature. | null | null | null | Jupiter |
43,869 | 120429fc-eac9-5684-bea4-c2e662ca632a | A work made of etching on paper. | null | null | Giovanni Domenico Tiepolo | Mary, Helped by Two Angels, Follows Joseph with the Donkey, plate 25 from The Flight into Egypt |
44,089 | 23655010-cf54-f1e8-03b8-4c50352102ce | A work made of silver gilt. | null | null | null | Porringer with Lid |
45,287 | 1750126a-ba47-90da-3bc5-eb60c47a3e33 | A work made of silk, bobbin straight lace (made in vertical strips). | null | null | null | Collar with Lappets |
45,476 | 2b6897fc-fbea-2052-7a68-f197ce4fc13e | Brown toned drawing of nude woman seated on small stool. | null | null | Lester George Hornby | The Farms |
46,056 | 10653fce-9372-6584-5778-f99d63041615 | A work made of gelatin silver print. | null | null | Doris Ulmann | A Pennsylvania Fireman |
47,694 | 118a9fb4-67f1-f687-60f9-0fa46f3f85d0 | A work made of glazed stoneware. | null | null | Gustavsberg Pottery | Bowl |
47,922 | fbf38d39-8416-c921-1e77-4cde229e1475 | A work made of color woodblock print; aiban. | null | null | Utagawa Hiroshige | Evening Rain at Massaki, Eight Views of the Sumida River (Sumidagawa hakkei, Massaki yau), from the series "Famous Places in the Eastern Capital (Toto meisho no uchi)" |
48,405 | 07617774-a46c-4d91-d2bd-b5927f0729ad | A work made of gelatin silver print. | null | null | Brett Weston | Untitled |
49,973 | 30249a83-f0d1-fffa-fd7e-293371649414 | A work made of photogravure, plate 305 from "the north american indian, volume 9" (1913). | null | null | Edward S. Curtis | Suquamish Woman |
50,163 | 159be02d-feff-873f-be00-5820568f0dde | A work made of hand-colored woodcut, printed on ivory laid paper. | Devotional woodcuts were heavily used in 15th-century Europe, variously folded and carried as talismans, pasted on bedroom walls, and kept in family Bibles. While hundreds were printed at the time, only a handful of impressions have survived to today. The only remaining extant copy of the image, this impression was pasted into the frontispiece of a book from a German Augustine nunnery, where viewers would have imagined Christ’s pain through repeated study and imitation. The woodcut offers an intensely personal focal point of meditation on Christ’s suffering. Like the nearby ', <em>Thirteen Buddhas</em>, ' (1925.1697), he appears as a floating vision. Nearly naked after his Crucifixion, blood streams from his nail wounds and crown of thorns. | Devotional woodcuts were heavily used in 15th-century Europe, variously folded and carried as talismans, pasted on bedroom walls, and kept in family Bibles. While hundreds were printed at the time, only a handful of impressions have survived to today. The only remaining extant copy of the image, this impression was pasted into the frontispiece of a book from a German Augustine nunnery, where viewers would have imagined Christ’s pain through repeated study and imitation. The woodcut offers an intensely personal focal point of meditation on Christ’s suffering. Like the nearby ', <em>Thirteen Buddhas</em>, ' (1925.1697), he appears as a floating vision. Nearly naked after his Crucifixion, blood streams from his nail wounds and crown of thorns. | Unknown artist | The Man of Sorrows |
50,412 | 02470d1c-0100-4563-29a4-0b0c0e055379 | A work made of etching in black on cream laid paper. | null | null | Herman Armour Webster | La Rue du Hallage, Rouen |
50,909 | 73eb91ee-cde0-2f6d-843f-4f263d5c409f | Sculpture in light stone of the head of a bearded man with wavy hair and wide eyes, missing a nose. | This imposing head probably comes from a full-length sculpture of an apostle that was one of the column or jamb figures flanking the portals of the west facade of Notre-Dame Cathedral in Paris. Showing the heritage of ancient and Byzantine models, it bears all the stylistic hallmarks of the beginning of the Gothic style in the region around the year 1200. The object’s origin was the subject of heated scholarly debate for several decades. Neutron activation analysis has shown that the limestone came from a quarry that also supplied stone for other carvings on Notre-Dame. The discovery of sculptural fragments from the cathedral’s Gallery of Kings above the west portals, dated to between 1220 and 1235 (and now in the Musée National du Moyen Âge, Paris), provided an important point of comparison. The Art Institute’s head is said to have been found during excavations for the modernization of Paris in the mid-nineteenth century. Medieval sculpture from Notre-Dame was purposefully damaged in the 1790s during the French Revolution because of its presumed royal associations. Fragments of some of the sculpture removed at the order of the revolutionary tribunal were buried out of a lingering respect for its tradition and quality, to be rediscovered in later years. | This imposing head probably comes from a full-length sculpture of an apostle that was one of the column or jamb figures flanking the portals of the west facade of Notre-Dame Cathedral in Paris. Showing the heritage of ancient and Byzantine models, it bears all the stylistic hallmarks of the beginning of the Gothic style in the region around the year 1200. The object’s origin was the subject of heated scholarly debate for several decades. Neutron activation analysis has shown that the limestone came from a quarry that also supplied stone for other carvings on Notre-Dame. The discovery of sculptural fragments from the cathedral’s Gallery of Kings above the west portals, dated to between 1220 and 1235 (and now in the Musée National du Moyen Âge, Paris), provided an important point of comparison. The Art Institute’s head is said to have been found during excavations for the modernization of Paris in the mid-nineteenth century. Medieval sculpture from Notre-Dame was purposefully damaged in the 1790s during the French Revolution because of its presumed royal associations. Fragments of some of the sculpture removed at the order of the revolutionary tribunal were buried out of a lingering respect for its tradition and quality, to be rediscovered in later years. | null | Head of an Apostle |
51,606 | 2b7c3acd-796d-f914-35f4-acf243482265 | A work made of lithograph in black with hand-stenciled color (pochoir) in blue, yellow, and orange on cream wove paper. | null | null | Théophile-Alexandre Pierre Steinlen | Poor Pandora!... |
53,626 | 350efc85-f0b3-b123-89f3-39c64d34872c | A work made of aquatint on paper. | null | null | Jean-Baptiste de Grateloup | Fenelon |
55,790 | 02b9e183-f6d3-1b4d-b247-aa631adfa06c | A work made of etching in black on ivory laid paper. | null | null | Camille Pissarro | Paul Cézanne |
56,067 | 2852203f-fb65-496d-65a0-2cefa7e58302 | A work made of color aquatint on white wove paper. | null | null | Jack Tworkov | L-SF-ES-#2 |
58,009 | 1c6e852e-dd7b-2c12-b143-b1a91da58994 | A work made of lithograph on cream wove paper. | null | null | Henri de Toulouse-Lautrec | The Rabbits' Waltz |
58,835 | 2053ba47-e1a3-391f-2bc6-07d45286c286 | A work made of glass. | null | null | Pietro Bigaglia | Paperweight |
59,741 | 3ef03a4a-ae4a-5d31-d380-e8d6d2ca6109 | A work made of albumen print, stereo. | Text printed on reverse of stereocard: | Text printed on reverse of stereocard: There is not to be found in this country, perhaps in the world, a more strikingly wonderful and beautiful freak of Nature than the Watkins Glen. Differing essentially in all its characteristics from any other remarkable locality of Natural interest, it has as distinct an individuality as the Falls of Niagara or the Mammoth Cave. | G. F. Gates | Artist's Dream, No. 18 from the series "Stereographs of the Watkins Glen" |
60,514 | f7433947-21bb-5b7f-c02f-e6f15c72bcd0 | A work made of oil on panel. | null | null | Bartolomé de Cárdenas, (called Bermejo) | Saint Augustine |
60,737 | 1fbee37e-160a-04de-5431-06552b60032c | A work made of cotton, plain weave; pieced and appliquéd with cotton, plain weave; batting; backed with cotton, plain weave; appliquéd areas embroidered in buttonhole, chain, running, and stem stitches. | null | null | Maggie Carson | Sunbonnet Sue Quilt |
61,563 | 251a8d70-3466-9dda-1a0a-f245fb4cf9d9 | A work made of steel engraving colored with wooden blocks, on paper. | null | null | George Baxter | The Parting Look (with Man and Box) |
61,827 | 27ee8bcc-89d7-9be6-2e19-a62fc8ba6d36 | A work made of oil monotype from a glass matrix on paper. | null | null | Pedro Pruna | Study in White (Etude en Blanc) |
62,013 | 1676dd23-e40a-170e-48e8-854cbb0b47c1 | A work made of silk, warp-float faced satin weave with supplementary binding wefts and supplementary pile warps forming cut, uncut, and voided velvet. | null | null | null | Fragment |
64,469 | 69bb6e7a-38ed-8d36-c277-d0fa97c32843 | A work made of pieced, painted and embroidered quilt; silk and cotton velvet weaves; silk embroidery threads; metal, silk and cotton cord. | The images on this hanging signal that it may be a souvenir of Mexico. The octagonal piece of fabric in the center features the national coat of arms: an eagle eating a serpent grasped in its talons while standing on a prickly pear cactus. Irregularly shaped pieces of fabric surround this central image and contain painted scenes that depict bullfighting, pre-Columbian sculpture, flowers, butterflies, views of the landscape, and scenes of everyday life. The collection and combination of these scenes suggest that the hanging could be an expression of affection for a place well known and loved or a place imagined through armchair travel.', <br/>, '—', <em>Making Memories: Quilts as Souvenirs</em>, ', October 20, 2017-April 1, 2018 | The images on this hanging signal that it may be a souvenir of Mexico. The octagonal piece of fabric in the center features the national coat of arms: an eagle eating a serpent grasped in its talons while standing on a prickly pear cactus. Irregularly shaped pieces of fabric surround this central image and contain painted scenes that depict bullfighting, pre-Columbian sculpture, flowers, butterflies, views of the landscape, and scenes of everyday life. The collection and combination of these scenes suggest that the hanging could be an expression of affection for a place well known and loved or a place imagined through armchair travel.', <br/>, '—', <em>Making Memories: Quilts as Souvenirs</em>, ', October 20, 2017-April 1, 2018 | null | Hanging |
66,381 | 270de187-b5c5-f746-d21b-c53918f5b1a8 | A work made of watercolor and pen and black ink, with brush and black ink, over graphite, on off-white illustration board. | null | null | Richard Aberle Florsheim | Welded Steel Xmas Trees |
66,645 | a14de279-92af-d636-168d-049a1c3bfee2 | A work made of gelatin silver print. | For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website: ', <a href='http://media.artic.edu/stieglitz'>The Alfred Stieglitz Collection</a>, '. | For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website: ', <a href='http://media.artic.edu/stieglitz'>The Alfred Stieglitz Collection</a>, '. | Alfred Stieglitz | Equivalent |
67,012 | 4b482c19-b176-483f-825a-70c15a67f4c7 | A work made of etching, selectively wiped, on ivory japanese paper. | In ', <em>Cathedral, Rouen</em>, ', Marin evoked the grandeur of the massive church less through an elaboration of architectural detail than through the piling up of vertical lines, harnessing the energy of the towers’ skyward thrust. | In ', <em>Cathedral, Rouen</em>, ', Marin evoked the grandeur of the massive church less through an elaboration of architectural detail than through the piling up of vertical lines, harnessing the energy of the towers’ skyward thrust. | John Marin | Cathedral, Rouen |
67,561 | 1232c0b7-0f44-ddaf-fb2b-7eb6ad25b1d4 | A work made of stoneware (jasperware). | null | null | Wedgwood Manufactory | Plaque with Boys Playing |
69,780 | 3f9aa9db-61e1-7060-fdb0-bfd7e41ddd08 | Portrait of a woman in white with a bonnet perched on an architectural feature painting something to her right, a spouting water fountain, greenery, and a an ornate, low white fence behind her. Beside her, a man leans back, eying the canvas. | The year 1907 was a turning point for John Singer Sargent, as he daringly stepped away from his successful career as a portraitist in favor of plein air painting. This strong and lively work aptly captures that moment of transition, combining landscape and portraiture in a composition that speaks to friendship and painterly pursuits while also celebrating color, surface, and fleeting effects of light and movement. The couple is Wilfrid and Jane Emmet de Glehn, professional artists and Sargent’s frequent traveling companions. Although ', <em>The Fountain</em>, ' has the appearance of spontaneity, Sargent was frequently interrupted by rain as he worked. He thus completed it over several days, requiring his friends to pose at length. | The year 1907 was a turning point for John Singer Sargent, as he daringly stepped away from his successful career as a portraitist in favor of plein air painting. This strong and lively work aptly captures that moment of transition, combining landscape and portraiture in a composition that speaks to friendship and painterly pursuits while also celebrating color, surface, and fleeting effects of light and movement. The couple is Wilfrid and Jane Emmet de Glehn, professional artists and Sargent’s frequent traveling companions. Although ', <em>The Fountain</em>, ' has the appearance of spontaneity, Sargent was frequently interrupted by rain as he worked. He thus completed it over several days, requiring his friends to pose at length. | John Singer Sargent | The Fountain, Villa Torlonia, Frascati, Italy |
70,095 | 389bf38c-5fc4-5594-37d9-e237008107c4 | A work made of jade. | null | null | null | Dragon Pendant |
70,935 | e5eaaaa3-448e-a870-6936-f9d82c890af2 | A work made of graphite and charcoal on strathmore board. | Although many of Mies’s plans and models adopt a bird’s-eye view, his design for the IIT campus also relied heavily on sketches done at eye level. This allowed the architect to work out potential problem areas, such as the experience of approaching a building at human scale. These sketches and studies were then used by architects in his office to create working drawings for construction. | Although many of Mies’s plans and models adopt a bird’s-eye view, his design for the IIT campus also relied heavily on sketches done at eye level. This allowed the architect to work out potential problem areas, such as the experience of approaching a building at human scale. These sketches and studies were then used by architects in his office to create working drawings for construction. | Ludwig Mies van der Rohe | Early Study for the Library and Administration Building, Illinois Institute of Technology, Chicago, Illinois, Perspective |
73,029 | 10465118-624f-0e77-d0ef-2c407a02b47e | A work made of linen, plain weave; embroidered with wool and silk in cross stitches. | null | null | Harriot A. Raymond | Sampler |
73,595 | 00c5b323-f3fc-f704-beb9-1b386687cefd | A work made of transfer lithograph in black with stumping, on cream laid japanese vellum. | null | null | James McNeill Whistler | The Terrace, Luxembourg |
75,210 | 7a0a5a26-ce6d-95f1-c9f6-4d1a7a8f18f1 | A work made of etching in black on ivory laid paper. | Wenceslaus Hollar worked in London for the better part of two periods, 1637–41 and 1652–77, and these were two of the most productive of his printmaking career. He etched a variety of subjects, including landscapes, and reproduced artworks in the collection of his host, the Earl of Arundel. Hollar also documented Saint Paul’s Cathedral from the inside and out, including this imagined exterior view from before a lightning bolt destroyed the spire in 1561. He was still living in London during the Great Fire of September 1666, when the whole structure burned. Indeed, several of Hollar’s etching plates from this project were lost in the fire. | Wenceslaus Hollar worked in London for the better part of two periods, 1637–41 and 1652–77, and these were two of the most productive of his printmaking career. He etched a variety of subjects, including landscapes, and reproduced artworks in the collection of his host, the Earl of Arundel. Hollar also documented Saint Paul’s Cathedral from the inside and out, including this imagined exterior view from before a lightning bolt destroyed the spire in 1561. He was still living in London during the Great Fire of September 1666, when the whole structure burned. Indeed, several of Hollar’s etching plates from this project were lost in the fire. | Wenceslaus Hollar | Saint Paul's from the South Showing the Spire |
77,031 | 038bc14a-e57b-bf0e-f02f-e383eca72298 | A work made of manuscript cutting in tempera and gold leaf on vellum. | null | null | null | Illuminated Border with Grotesques and Flora from a Manuscript |
81,931 | 35472f6a-beca-e18a-89d0-f616a48401c5 | A work made of pen and black ink, heightened with white gouache, on brown tinted laid paper, laid down on ivory laid paper. | null | null | Vincenzo Camuccini | Christ in Glory with Saints |
83,036 | 35d508fe-c86e-4579-39bc-98ecbc020a78 | A work made of pressed glass. | null | null | Sampson, Lindley & Co. | Cup plate |
83,313 | 2a464af1-2ea2-09e2-04ca-9d02be623946 | A work made of pressed glass. | null | null | Artist unknown | Cup plate |
85,049 | 29f49600-4f4e-b641-d9f8-4da196ad1345 | A work made of cotton and wool (camelid), tapestry weave with supplementary weft slit closure; edged with wool (camelid) in cross-knit loop stitches. | null | null | Wari | Band |
85,787 | 0167cae9-19d0-f09d-1883-8b1a74ab807c | A work made of black and white chalk, on gray prepared ground, on ivory laid paper. | null | null | Pierre-Jacques Volaire | Dancing Woman |
86,424 | 2aab38f0-b743-332a-93f2-8ea2981da7e3 | A work made of cotton, plain weave; printed. | null | null | null | Two Panels |
87,472 | 1102ff20-d5de-0ac7-1371-ecb8a653d5c4 | A work made of sycamore, painted and gilded. | null | null | null | Trencher with a Scene from Aesop's Fables |
89,020 | 00352d34-0ea9-0acc-14dd-3a9a2fcd418d | A work made of pewter. | null | null | null | Wine Can |
90,263 | 361dbff2-2681-af4a-fbee-ff1cd4f1096d | A work made of hand-colored etching on paper. | null | null | James Gillray | Patriotic Petitions on the Convention |
90,984 | 1b3e9a14-4deb-2b0a-6ee6-54ca60c0383f | Abstract painting with an orange mass in the center surrounded by green and pink tones, painted in wide brushstrokes. | null | null | Eva Hesse | Untitled |
91,513 | f7484e4c-f3e5-a91f-b180-7096f4d55550 | A work made of ceramic and pigment. | null | null | Nieveria | Double-Chambered Jar Depicting a Figure Holding a Cup or Flute |
92,882 | f83d40a0-a48d-1b26-0d95-ef3588890946 | A work made of silk, plain compound cloth. | null | null | null | Panel |
94,494 | 2aeafaf3-ce88-8c6c-32f6-87609eab8ffa | A work made of glass. | Technological improvements to optical scientific instruments in the mid-nineteenth century spurred a veritable obsession across Europe with identifying and classifying the natural world. Amateur botanists were eager to collect and preserve floral specimens, which they intently researched and catalogued. In response to this broad appeal, French glassmakers made paperweights that portrayed the very botanical subjects that were so enthusiastically sought. Many weights represented specimens with horticultural correctness, but others were entirely fanciful creations. Paperweights like this example speak to the period’s fascination with taxonomic systems. | Technological improvements to optical scientific instruments in the mid-nineteenth century spurred a veritable obsession across Europe with identifying and classifying the natural world. Amateur botanists were eager to collect and preserve floral specimens, which they intently researched and catalogued. In response to this broad appeal, French glassmakers made paperweights that portrayed the very botanical subjects that were so enthusiastically sought. Many weights represented specimens with horticultural correctness, but others were entirely fanciful creations. Paperweights like this example speak to the period’s fascination with taxonomic systems. From the late 1840s to early 1860s, French manufacturers of fine glass and crystal—such as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)—catered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products. | Clichy Glasshouse | Paperweight |
95,720 | ff24874a-9210-8599-7b1e-37b07e4231dc | A work made of pen and gray ink with brush and gray wash over graphite, on ivory laid paper, tipped onto cream laid card. | null | null | Jan de Beyer | Sailboats on Canal near Spaarendam |