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Between and Mortarboard


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Results for Collection area:western

4094 UMMA Objects (page 1/342)
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Otto Bacher
Poplars, Royal Gardens
late 1850s - late 1900s
Museum Purchase
1930.2

Auguste Rodin (French (culture or style))
Antonin Proust
1884 – 1888
Gift of Mrs. E. Lyman Robb
1980/2.192

Jean-Émile Laboureur
The Drunkard (L'Ivrogne)
1896
Museum Purchase
1981/2.94

Auguste Louis Lepère (French (culture or style))
Basket-peddlers at the Porte du Compas-d'Or rue Montorgueil, (Marchands au panier sous la Porte du Compas-d'Or, rue Montorgueuil)
1889 – 1890
Museum Purchase
1981/2.95

Master AG
Arms of Prince Rudolph II von Scherenberg, Bishop of Würzburg
1482
Gift of the Friends of the Museum of Art in memory of Sarah Goddard Power
1984/2.42

Max Pechstein
After the Bath (Nach dem Bad)
1920
Gift of Gilbert M. Frimet
1985/1.116
A man with curly hair and a moustache is shown looking at the viewer. He is wearing a dark, broad-brimmed hat at a slight angle, a ribbon hanging over the brim on the right side. His hands are barely indicated, but he is holding paper in his left hand and writing or drawing with his right hand.
James Abbott McNeill Whistler (American (North American))
Whistler with a hat
1859
Bequest of Margaret Watson Parker
1954/1.341
A woman, leaning back in a curved armchair, sits at an angle to the viewer. Her face is presented in nearly strict profile, looking to the right; her long, waving hair cascades around her, framing her face. Her right arm is in her lap and her skirt is only lightly sketched in. At the lower left corner, another sketch of a woman's head (seen upside down) is visible.
James Abbott McNeill Whistler (American (North American))
Weary
1863
Bequest of Margaret Watson Parker
1954/1.353
A large ornate waterdoor faces onto a canal. On the threshold near the water, a woman bends down towards the surface of the canal. Behind the doorway stands another figure in the shadows and beyond is another opening to a small square or open-air workspace. The doorway consists of a large lunette shaped transom light over the door and the portal is flanked on either side by large arched windows. The glazing is all fitted into a fine network of mullions in either square on diamond patterns. The door and windows are each framed by carved pilasters and engaged corinthian capitals. Below the windows are bands of rosettes and other carved ornaments that extends to the water level.
James Abbott McNeill Whistler (American (North American))
The Doorway, from the "Twelve Etchings", or the "First Venice Set"
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.375
A view of a city along the edge of water sweeps from the foreground towards the right in the distance. Along quays, bridges, and promenades can be seen groupings of people walking and in conversation. Boats populate the water's edge: smaller boats in the foreground, larger multi-masted ships in the distance.
James Abbott McNeill Whistler (American (North American))
The Riva, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.378
A nighttime view of canals in Venice. Walls of buildings at rough right angles to one another, connected by a footbridge in the distance, are lit to reveal massings of the architecture--balconies, doorways, windows. There are no people apparent; the sky and water are both very dark.
James Abbott McNeill Whistler (American (North American))
Nocturne: Palaces, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.387
A view of a city along the edge of water sweeps from the foreground towards the right in the distance. Along quays, bridges and promenades can be seen groupoings of people walking and in conversation. Boats populate the water's edge: smaller boats in the foreground, larger multi-masted ships in the distance.
James Abbott McNeill Whistler (American (North American))
The Riva, No. 2, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.389
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