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Results for terms:geese

8 UMMA Objects (page 1/1)
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A scene of geese in pond and on sandbars. The geese are congregated in the lower left hand side of the painting, as are most of the reeds growing from the sand bars. Some geese can also be seen flying in the middle of the painting, though they are not as prominent. Five lines of calligraphy are lcoated in the upper right of the painting.
Chang Ku-nien
Geese Landing on Sandbars
1975 – 1999
Gift of Ted and Syauchen Baker
2006/1.142
Paper size: h 36 1/2cm x tw 46 1/2cm & bw 47cm. Image size: lh 21 3/5cm & rh 21 1/2cm x tw 32cm & bw 32 1/5cm.
Alfred Sisley (French (culture or style))
Bords de Riviere ou les Oies
Gift of Ruth W. and Clarence J. Boldt, Jr.
2008/2.395
Sweeping brushstrokes of varying intensity convey the general landscape of this painting.  More detailed brushwork is used to illustrate eight geese flying low amoung plants or reeds.
Lin Fengmian (Lin Feng-mien)
Landscape with Geese
1960 – 1970
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.33
A grounded and a flying goose is paired in both paintings, creating a contrast of stillness and movement. A goose swoops into the scene from the top left, while the neck of the grounded goose follows a graceful curve to look at the approaching bird. The swaying reeds and grass around the grounded goose add lightness to the composition. Between the two geese are three lines of calligraphy.<br />
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These two hanging scroll paintings depict geese and reeds. Based on the style, the use of silk and the mounting method, it is assumed that the two works are part of the same set. Plate 278-1 (2009/1.488.1) depicts three geese including one with its head plunged into the water, while Plate 278-2 (2009/1.488.2) depicts two. Both works depict reeds on the right part of the painting. Yang&rsquo;s signature in &ldquo;boneless&rdquo; stroke style, effective in portraying light and shade, is striking. Yang Gihun (楊基薰, 1843&ndash;?), who painted these works, was active mainly in Pyeongyang which is currently located i
Ki-hun Yang
Geese and Reeds (two of a pair)
1867 – 1899
Gift of Keum Ja and Byung Schick Kang
2009/1.488.2
A grounded and a flying goose is paired in both paintings, creating a contrast of stillness and movement. The goose is the water has its head turned to watch the descent of the goose flying in from the right. The upper left corner contains calligraphic text, and creating ripples in the water in the foreground is a goose with its head below the surface, and bottom in the air. Reeds come in from the right.<br />
<br />
These two hanging scroll paintings depict geese and reeds. Based on the style, the use of silk and the mounting method, it is assumed that the two works are part of the same set. Plate 278-1 (2009/1.488.1) depicts three geese including one with its head plunged into the water, while Plate 278-2 (2009/1.488.2) depicts two. Both works depict reeds on the right part of the painting. Yang&rsquo;s signature in &ldquo;boneless&rdquo; stroke style, effective in portraying light and shade, is striking. Yang Gihun (楊基薰, 1843&ndash;?), who painted these works, was active mainly in Pyeongyang which is cur
Ki-hun Yang
Geese and Reeds (one of a pair)
1867 – 1899
Gift of Keum Ja and Byung Schick Kang
2009/1.488.1
This painting depicts a quiet rural scene. A river runs from the foreground back into the distance, flanked on either side by green trees along the banks. A twilight sky dominates with salmon and blue hues. Ducks or geese fly just above the trees at right. A small figure fishing is visible on the left bank. The painting is signed and dated in paint (l.r.) "Daubigny 1870" (the date is somewhat obliterated).
Charles François Daubigny (French (culture or style))
Landscape—Evening
1870
Bequest of Carl F. Clarke
1954/1.77

Heinrich Aldegrever
The Labors of Hercules: The Infant Hercules (one of the set of 13 prints)
1550
Museum Purchase
1956/1.61
This six-fold screen, a half of a pair, is meant to represent six of the twelve months of the year, with keen attention paid to the birds and flowers associated with each. Although this screen bears Kano Tan&rsquo;yu&rsquo;s signature, it was probably created by his studio or by followers working in this famous artist&rsquo;s style.
One of a pair of six-fold screens
19th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1965/1.178
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