14 UMMA Objects
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A photograph of a woman dancing. She lifts her arms up toward the right of the frame, her legs creating a diagonal across the bottom of the frame. 
Barbara Morgan (American (North American))
Martha Graham—Lamentation
1935
Gift of the Willard and Barbara Morgan Archives
1991/2.49
A photograph of a woman dancing. She wears a dress with flowing fabric, creating a sense of motion as she performs a jump.
Barbara Morgan (American (North American))
Martha Graham—Letter to the World
1940
Gift of the Willard and Barbara Morgan Archives
1991/2.52
A woman dances in the middle of a room with musicians and observers seated behind her and two standing on a balcony. 
Max Slevogt (German (culture or style))
Tänzerin
1904 – 1905
Museum Purchase
1953/2.20
A group of dancers caught in motion; all leaping in the air in synchrony with their bodies hunched over.
Barbara Morgan (American (North American))
Charles Weidman—Lynchtown—(Humphrey-Weidman group)
1938
Gift of the Willard and Barbara Morgan Archives.
1991/2.51
This western Luba <em>kifwebe</em> (plural, <em>bifwebe</em>), a striated mask with parallel grooves, has a rectangular, box-like form. A dense raffia fiber beard has been tightly bound around the carved wooden face. The mask was crowned by a black and white cock feather headdress (now lost due to damage) that perfectly matched the black and white striations. The vertical and arching lines suggest the mask derives from the Manono region, yet the black and white coloring indicates it originates further northwest in the Kabalo area. Moreover, the mask possesses many stylistic features of Songye <em>bifwebe</em> including the stylization of the eyes, mouth, and saggital crest; however, this mask’s cubic shape makes it markedly different from Songye ones. Here, the mouth protrudes with square, pursed lips, the eyes appear as horizontal slits with slightly overhanging eyebrows, the crest extends from the forehead eventually forming the nose, and the chin is flat and wide. Faint traces of white clay (kaolin) appear
Luba (Luba (culture or style))
Mask
1935 – 1945
Gift of Candis and Helmut Stern
2005/1.219
A drawing of a woman moving to the right, her right arm extended over her head and out of the frame, her left arm extended upward to her left. 
Abraham Walkowitz (American (North American))
Isadora Duncan
1909 – 1950
Gift of Abraham Walkowitz
1950/1.118
A drawing of a woman, standing with elbows bent, hands upturned at chin level, and her head back. 
Abraham Walkowitz (American (North American))
Isadora Duncan
1915 – 1950
Gift of Abraham Walkowitz
1950/1.120
Drawing of a woman, kneeling, facing viewer, arms extended to the ground on the sides of her body, head leaning back. 
Abraham Walkowitz (American (North American))
Isadora Duncan
1909 – 1950
Gift of Abraham Walkowitz
1950/1.115
A drawing of a woman standing, facing the viewer, with knees turned slightly to the left and arms extended to the sides, slightly raised. 
Abraham Walkowitz (American (North American))
Isadora Duncan
1915 – 1950
Gift of Abraham Walkowitz
1950/1.117
A drawing of a woman seeming to lurch to the right, with one knee bent as if beginning to run. Her left arm is draped across front of her body, and her right arm is extended to the left, parallel to the top of the frame.
Abraham Walkowitz (American (North American))
Isadora Duncan
1909 – 1950
Gift of Abraham Walkowitz
1950/1.119
Etching depicting six scenes in which two costumed performers dance in response to each other.
Jacques Callot (French (culture or style))
Six Scenes from the Balli di Sfessania (Dance of Sfessania)
1616 – 1622
Gift of Professor Walter M. and Nesta R. Spink
2013/2.557
Depicted&nbsp;are the Seven Lucky Gods. One is standing on one foot with his belly showing and a staff&nbsp;running along his sholders. Three others are crouching on the ground to the right of the standing god. The first is Ebisu in court robes with a rod in one hand and a fan in the other. The next god is in green robes and a tall hat. The last one, Hotei, is sitting on the ground pointing with his belly showing. Across from these three gods are three more, all laying on the ground. The first is in a green robe facing and holding a drink to the god on his right Benzaiten. She is in red robes but also&nbsp;half-naked. On her right is another god Fukurokuju in tan tobes with an elongated&nbsp;forehead. On the bottom right of the hanging scroll is a signature and two seals.<br />
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Mori Kōga (Takamasa)
Bacchanalian Revelry of the Seven Lucky Gods
1833 – 1866
Museum purchase made possible by a gift from Helmut Stern
1985/2.20
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