Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An

Total Page:16

File Type:pdf, Size:1020Kb

Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An Art 109 Slide List of Images Section I For the exam know the ARTIST, TITLE, STYLE, location (for architecture) and be able to answer a question about the image for quizzes and to write essays. NEOCLASSICISM & ROMANTICISM 1. James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875, Early Modernism 2. Jacques-Louis David, The Oath of the Horatii, 1784, oil, Neoclassicism 3. William Blake, Nebuchadnezzar, 1795, Romanticism, color print finished in ink and watercolor on paper. 4. Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, Neoclassicism/Romanticism oil. 5. Francisco de Goya y Lucientes, This is War (The Disasters of War Series), 1810-11, Romanticism, etching. 6. Eugene Delacroix, The Lion Hunt, 1861, oil, Romanticism. 7. Richard Parkes Bonington, A Scene of the French Coast, 1825, French Landscape. 8. John Constable, The Hay Wain, 1819-21, Romantic Landscape Painting, oil. REALISM 9. Jean-Francois Millet, The Angelus, 1857-9, French Realism, oil on canvas. 10. Honore Daumier, Rue Transnonain, April 15, 1834 (published in L’Association Mensuelle, July 1834, French Realism, lithograph 11. Gustave Courbet, A Burial at Ornans, 1849-50, French Realism, oil on canvas 12. Rosa Bonheur, Ploughing in the Nivernais, 1849, French Realism, oil 13. William Holman Hunt, The Hireling Shepherd, 1851, Pre-Raphaelite, oil 14. Edouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, French Realism, oil 15. Winslow Homer, Prisoners from the Front, 1866, American Realism, oil on canvas 16. Thomas Eakins, The Gross Clinic, 1875, American Realism, oil 17. Henry Ossawa Tanner, The Banjo Lesson, 1893, American Realism, oil 18. John Singer Sargent, Madame X (Mme Gautreau), 1884, American Realism, oil 19. James Abbott McNeil Whistler, Symphony in White No. II: the Little White Girl, 1864, English Realism/Early Modern, oil. PHOTOGRAPHY 20. Louis-Jacques-Mande Daguerre, Still Life in Studio, 1837, Daguerreotype, photograph.. 21. Henry Fox Talbot, Trafalgar Square, London, during the erection of the Nelson Column, Calotype, salt print from a paper negative 22. Nadar, Sarah Bernhardt, 1864, modern photography 23. Julia Margaret Cameron, Unknown Girl, Ceylon, 1875-79, Modern photography 24. Artist Unknown, Frederick Douglas, 1847, Daguerreotype 25. Gertrude Kasebier, Blessed Art Thou Among Women, 1900, Pictorial Photography IMPRESSIONISM 26. Mary Cassatt, Woman Bathing, 1890-91, Impressionism, oil 27. Claude Monet, Impression Sunrise, 1874, Impressionism, oil 28. Auguste Renoir, Moulin de la Galette, 1876, Impressionism, oil on canvas 29. Edgar Degas, Little Dancer Fourteen Years Old, 1878-81, Impressionism, oil 30. Berthe Morisot, Woman at Her Toilette, 1875, Impressionism, oil on canvaS EARLY MODERNISM - INFLUENCE FROM JAPAN 31. Ando Hiroshige, Moon Pine at Ueno from One Hundred View of Famous Places in Edo, 1857, Japanese Modernism, Color Woodcut CHAPTER 3: POST-IMPRESSIONISM 32. Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-86, Post-Impressionism, oil, 33. Paul Cezanne, Still Life with Basket of Apples, 1906, Post-Impressionism, oil. 34. Paul Gauguin, Where do we come from, What are we? Where are we going?, 1897, Symbolism/Post- Impressionism, oil. 35. Vincent van Gogh, The Night Cafe, 1888, Post-Impressionism, oil 36. Pierre Bonnard, Promenade of the Nursemaids, Frieze of Fiacres, 1899, Post-Impressionism, color lithograph on four panels 37. Henri de Toulouse-Lautrec, Moulin Rouge-La Goulue, 1891, Post-Impressionism, lithograph EARLY MODERN ARCHITECTURE 38. Charles Rennie Mackintosh, Library, Glasgow School of Art, Glasgow, Scotland, Modern Architecture ART NOUVEAU; Pre-EXPRESSIONISM; EARLY MODERN 39. Aubrey Beardsley, Salome with the head of John the Baptise, 1893, Art Nouveau, India ink and watercolor. 40. Henry van de Velde, Tropon, 1899, Art Nouveau, print. 41. Gustav Klimt, Adele Blach-Bauer I, 1907, Art Nouveau, oil, silver, and gold on canvas. 42. Antoni Gaudi, Casa Mila, Barcelona, 1905-1907, Art Nouveau. 43. Victor Horta, Stairwell of interior, Tassel House, Brussels, 1892-93, Art Nouveau. 44. Gustave Moreau, The Apparition, 1876, Pre-Symbolism, oil 45. Henri Rouseau, The Sleeping Gypsy, 1910, Pre-Symbolism, oil 46. Edvard Munch, The Scream, 1893, Expressionism, oil anD tempera on board. 47. Auguste Rodin, The Gates of Hell, 1880-1917, Modern Sculpture, bronze 48. Camile Claudel, Chatting Women, 1897, Modern Sculpture, onyx and bronze 49. Suzanne Valadon, Blue Room, 1923, Modern, oil. .
Recommended publications
  • Valeska Soares B
    National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • Raeburn : English School
    NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada.
    [Show full text]
  • The Domestication of History in American Art: 1848-1876
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • The Art of the Metropolitan Museum of New York
    tCbe Hrt of tbe flftetiopoUtan fIDuseum 3Bg tbe Same Butbor 2L XTbe art of tbe IRetberlanb (Balleriea Being a History of the Dutch School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in the many Galleries With 48 Illustrations. Price, $2.00 net £ L. C. PAGE & COMPANY New England Building, Boston, Mass. GIBBS - C HANNING PORTRAIT OF GEORGE WASHINGTON. By Gilbert Stuart. (See page 287) fje gtrt of iWetcopolitany 3*1 it scnut of 3Ul” Motfe & Giving a descriptive and critical account of its treasures, which represent the arts and crafts from remote antiquity to the present time. ^ By David C. Preyer, M. A. Author of “ The Art of the Netherland Galleries,” etc. Illustrated Boston L. C. Page & Company MDCCCC1 X Copyright, 1909 By L. C. Page & Company (incorporated) All rights reservea First Impression, November, 1909 Electrotyped and Printed at THE COLONIAL PRESS C.H . Simonas Sr Co., Boston U.S.A. , preface A visit to a museum with a guide book is not inspiring. Works of art when viewed should con- vey their own message, and leave their own im- pression. And yet, the deeper this impression, the more inspiring this message, the more anxious we will be for some further information than that conveyed by the attached tablet, or the catalogue reference. The aim of this book is to gratify this desire, to enable us to have a better understanding of the works of art exhibited in the Metropolitan Museum, to point out their corelation, and thus increase our appreciation of the treasures we have seen and admired.
    [Show full text]
  • Press Release
    For Immediate Release NEWS RELEASE The Muscarelle Museum of Art at William & Mary Launches VIRTUAL MUSCARELLE and an Online Exhibition in Honor of 100 Years of Women Williamsburg, Va. (Sept. 6, 2018) – The Muscarelle Museum of Art at William & Mary is proud to present the virtual exhibition Women with Vision: Masterworks from the Permanent Collection in honor of the 100 Years of Women celebration at William & Mary. Women with Vision originally presented in the Muscarelle galleries in spring of 2018, featured paintings, drawings, works on paper and sculptures ranging across four centuries, from 1655 to 2017, by more than thirty women artists. A digital continuation of Women with Vision, recreated for VIRTUAL MUSCARELLE, launches the Museum’s digital initiatives project found at virtual.muscarelle.org. A panoramic virtual tour allows the user to explore the original exhibition and view their favorite pieces alongside curatorial research. The virtual exhibition also provides a catalogue of works from the original exhibition and additional artists from the Museum’s permanent collection expressly chosen to further honor the contribution women have made in the arts. Learn more about women in the arts in our “Beyond the Exhibition” section, which features information on the 100 Years of Women commemoration at William & Mary. For optimal viewing experience, we suggest using Google Chrome, Safari, or Opera web browsers. Women with Vision, presents the opportunity to see pieces by historically important artists such as Marguerite Gérard, Julia Margaret Cameron, Rosa Bonheur, Suzanne Valadon, and Mary Cassatt. Twentieth-century leaders include Alice Neel, Louise Nevelson, Miriam Schapiro, Cindy Sherman, and Kiki Smith.
    [Show full text]
  • National Association of Women Artists Induction
    National Association of Women Artists, Inc. Women of Vision… FOR IMMEDIATE RELEASE: The National Association of Women Artists, Inc. (NAWA) is pleased to announce that Fran Gardner of Heath Springs, South Carolina has been accepted into membership, having met the standards required by the membership jury of NAWA. Fran was inducted on November 14 at the Rubin Museum in Manhattan, New York. In addition to this honor, her work is exhibited in the New Members Show that also opened on November 14 at the NAWA Gallery, also in Manhattan. This is her first New York exhibit. Fran is a Professor of art and art history at the University of South Carolina Lancaster where she teaches a variety of studio courses, art history, art appreciation, and art education. She earned her BFA from Columbia College (1982) and later, her MFA from Vermont College of Norwich University (1993). Gardner stated, “This organization has a long and important history of supporting women artists. I am honored to be included in the membership of this group that continues to address the inequity of opportunities for women in the arts. I look forward to working with both the National Association and the South Carolina Chapter to open doors and break down barriers for women artists and to exhibit and present my work on regional and national levels in support of the NAWA mission.” Dr. Walter Collins, USC Lancaster Dean, added “Professor Fran Gardner has helped to create a dynamic culture of artistic expression, critique, and appreciation at USC Lancaster. Over the span of her career, we have seen interest in art courses grow which has served to diversify not only our academic offerings but our student body.
    [Show full text]
  • Women Artists: Women Artists Four Centuries of Creativity
    Women Artists: Women Artists Four Centuries of Creativity This fascinating exhibition examines works on Greatorex (American, 1819 – 1897), and examples paper—etchings, engravings, lithographs, drawings, by icons of twentieth century art like Sonia Delaunay watercolors, woodblock prints, and photographs—by (French, 1885 – 1979), Käthe Kollwitz (German, 1867 some of the most important women artists of the – 1945), Louise Nevelson (1899 – 1988), and Françoise last four centuries with a selection of 37 examples Gilot (French, b. 1921), are featured in the exhibition. from the Reading Public Museum’s fine permanent Works Progress Administration (W.P.A.) era works by collection. The show chronicles the emergence of Clara Skinner (American, 1902 –1976), Peggy Bacon women as professionals in the field of art and records (American, 1895 –1987), and Isabel Bishop (American, the extraordinary creative contributions made over the 1902 – 1988) capture contemporary life on the streets centuries. of New York, theaters, and rural America. Works by more contemporary artists such as Lee Bontecou Historical works by (or after) Elisabetta Sirani (Italian, (American, b. 1931), Elizabeth Osborne (American, b. 1638 – 1665) and Marie-Louise-Elisabeth Vigée-Lebrun 1936), Ida Applebroog (American, b. 1929), and Lorna (French, 1755 – 1842), outstanding nineteenth- Simpson (b. 1960), among others, explore meaningful century works by Rosa Bonheur (French, 1822 – 1899), trends in the current world of art. Anna Lea Merritt (American, 1844 – 1930), and Eliza ABOVE: Clara Skinner (American, 1902 – 1976), Theatre No. 1, c. 1933 – 1934, woodblock print, Permanent Loan, U.S. Government, W.P.A. Federal Art Project, Reading Public Museum, Reading, Pennsylvania. FAR LEFT: Violet Oakley (American, 1874 – 1961), For the Preservation of Italy, Guardian of the World’s Most Precious Heritage of Beauty, 1918, lithograph, Gift, Captain Roswell C.
    [Show full text]
  • 30.3 Modernism and Realism
    Europe and America, 1800-1870, Modernism and Realism • Examine the meanings of “Modernism” and “Realism” and the rejection of Renaissance illusionistic space. • Understand the changes in Realist art in form, style, and content. • Examine the use of art – especially photography and printmaking -- to provide social commentary. 1 The Art of Realism • Understand Realist art in its forms, styles, and content. • Examine the social commentary, shocking subject matter, formal elements, and public reaction to Realism. 2 Realist Influences: Pieter Breughel Louis Le Nain, Family of Country People, ca. 1640 Le Nain Brothers, The Cart or Return from Haymaking, 1641 Realist Influences: Chardin, Woman Cleaning Turnips, 1738 Figure 30-27 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945). 7 Figure 30-28 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay, Paris. 8 GUSTAVE COURBET, The Painter’s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855. Oil on canvas, 11’ 10” x 19’ 9 ”. Musée d’Orsay, Paris. 9 Figure 30-29 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, 2’ 9” x 3’ 8”. Musée d’Orsay, Paris. 10 Figure 30-32 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum of Art, New York (gift of Cornelius Vanderbilt, 1887). 11 ROSA BONHEUR, Plowing in the Nivervais, 1849. Oil on canvas, 5’ 9” x 8’ 8”.
    [Show full text]
  • FAMOUS AMERICAN WOMEN PAINTERS by ARTHUR HOEBER Author, Artist, and Critic
    [OUSAMERIOIN OMEN PAINTER DEPARTMENT O] HNE ARTS irial Number 55 m\t i TJUf mtJm The Mentor Association )R THE DEVELOPMENT OF :; ii\ ihREST IN ART, LITERATURE, TT MT<;TnRY, NATURE, AND TRAVEL THE ADVISORY BOARD University G, HIBBEN President of Princeton HAMILTON W, MABIE Author and Editor JOHN a FAN DYKE f the History of Arty Rutgers College ALBERT BUSHNELL HART Froj ior of Government^ Harvard University HILLIAM T.HORNADAY Director New York Zoological Park Traveler DiriGHT L ELMENDORF . Lecturer and THE PLAN OF THE ASSOCIATION purpose of The Mentor Association is to give its members, in an THEinteresting and attractive way, the information in various fields of knowledge which everybody wants and ought to have. The infor- under the mation is imparted by interesting reading matter, prepared the direction of leading authorities, and by beautiful pictures, produced by most highly perfected modern processes. The object of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agree- ably to know the world's great men and women, the great achievements and the permancntlv interesting things in art, literature, science, history, nature, and travel. ^ , The annual membership fee is Three Dollars. Every member i. year. entitled to receive twenty-four numbers of The Mentor for one THE MENTOR •ncruTPTION. THREE DOLLARS A YEAR. AS SECOND-CLASS MATTER. COPYRIGHT. (PIESPIPTBEN CENTS. FOREIGN 1914. BY THE MENTOR ASSOCIATION. AND TREASURER. R. .. .6 EXTRA. CANADIAN INC. PRESIDENT CENTS W. M. '.(}£ 50 CENTS EXTRA. ENTERED M. DONALDSON; VICE-PRESIDENT. L. D. GARDNER .IE POST^PPICE AT NEW YORK.
    [Show full text]
  • Download Rosa Bonheur: All Nature's Children, Bordeaux (France
    Rosa Bonheur: all nature's children, Bordeaux (France). MusГ©e des beaux-arts, Dahesh Museum, Dahesh Museum, 1998, 0965479315, 9780965479318, 103 pages. DOWNLOAD http://kgarch.org/17QTAVw Artists I have known , Almira Torrey Blake Fenno Gendrot, , Art, 46 pages. Rosa Bonheur her life, Catherine Owens Peare, 1956, Art, 126 pages. Rosa Bonheur with a checklist of works in American collections, Rosalia Shriver, 1982, Art, 111 pages. Little journeys to the homes of famous people , Elbert Hubbard, 1927, , 495 pages. Rosa Bonheur The Artist's (auto)biography, Anna Klumpke, Oct 1, 2001, Art, 295 pages. The intimate biography of French painter Rosa Bonheur by her companion Anna Klumpke. Telling tales II Religious Images in 19th century academic art, Lisa Small, Dahesh Museum of Art, 2001, Art, 47 pages. Faust The First Part of the Tragedy, Johann Wolfgang von Goethe, Jan 1, 1999, Fiction, 496 pages. Goethe's Faust is a classic of European literature. Based on the fable of the man who traded his soul for superhuman powers and knowledge, it became the life's work of Germany .... Anna Klumpke a turn-of-the-century painter and her world, Britta C. Dwyer, 1999, Biography & Autobiography, 222 pages. The first detailed study of this fin-de-siecle artist.. Reminiscences of Rosa Bonheur , Theodore Stanton, 1910, Painters, 413 pages. Memoir of Mademoiselle Rosa Bonheur , FrГ©dГ©ric Lepelle de Bois-Gallais, 1857, , 64 pages. Telling tales I Classical images from the Dahesh Museum of Art, Roger Diederen, Dahesh Museum of Art, May 1, 2001, Art, 40 pages. The letters and journals of Paula Modersohn-Becker , Paula Modersohn-Becker, J.
    [Show full text]
  • Art Prints for Theme Enrichment Fine Art Images and Artists 1
    Art Prints for Theme Enrichment Fine Art Images and Artists Package Number Theme Print Type Artwork Artist 1 America Large Print Edward and Sarah Rutter Joshua Johnston 1 America Large Print Gros Ventre Shield Jar, Acoma Pueblo, New 1 America Small Print Mexico Lucy M. Lewis Pair of George III Tea Louisa Perina 1 America Small Print Caddies Courtauld Portrait of the Marquise de Adélaïde Labille- 1 America Small Print Lafayette (?) Guiard Jennie Augusta 1 America Small Print Thanksgiving at Plymouth Brownscombe The Family of the Earl of 1 America Small Print Gower Angelica Kauffman Mrs. Noah Smith and Her 1 America Transparency Family Ralph Earl 1 America Transparency Sampler Patty Coggeshall Ancient Red Figured Amphora Berlin painter 2 Civilizations Large Print (vase) (attributed) Ancient 2 Civilizations Large Print The Great Stupa Ancient Cumean Sibyl (after 2 Civilizations Small Print Domenichino) Angelica Kauffman Ancient 2 Civilizations Small Print Jar, Santa Clara Pueblo Margaret Tafoya Ancient 2 Civilizations Small Print Symbols Ida Kohlmeyer Ancient The Family of the Earl of 2 Civilizations Small Print Gower Angelica Kauffman Ancient 2 Civilizations Small Print Through the West Gate Bertha Lum Ancient 2 Civilizations Transparency Egyptian Mummy Case unknown Ancient 2 Civilizations Transparency Painted Storage Jar unknown 3 Animals Large Print Cable Car Festival Dong Kingman 3 Animals Large Print Silver Llama Unknown 3 Animals Small Print Breakfast of the Birds Gabriele Münter Plate 69 from Dissertation in Insect Generations and
    [Show full text]