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96 UMMA Objects
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This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Carnival
1934 – 1967
Museum Purchase
1971/2.150.12
Four people donning costumes and masks standing in the foreground of a large grassy field.&nbsp;
Diane Arbus (American (North American))
Untitled (4)
1970 – 1971
Museum Purchase
1978/1.174
Centered in the page in this print are two figures in matching costume, one facing the viewer and one away. They are each dressed in a black suit with pink cumberbund and white socks and gloves. Each figure wears a cape with green interior; the back is white with vegetal and animal motifs in orange, pink, green, grey and black. On the left, the more-visible cape has a grey bird on one side and an orange horse on the other. As visible on the left figure, who faces away, there is a large black collar on the cape in the shape of a triangle, and off of the collar hangs a long pink piece of fabric.  Both figures wear white hats—shaped like umbrellas—that have large plumage of black, orange and green coming from a pole off the top. Lastly, as seen in the right figure, they wear a pink mask with a mustached face.
Carlos Mérida (Guatemalan)
Danza de los Paragüeros
1937 – 1939
Museum Purchase
1944.10
Centered on the page in this print are two figures. Both have oranged-tan skin, revealed by their bare chests, arms and legs. At their ankles, there are white bands with gold circles. On the left, the figure wears blue shorts with a wide white waistband. He faces away, on his head there is a headdress in the shape of a horned-deer that faces to the left, attached by a white cloth. The figure holds two yellow disks. On the right, the man wears slightly different draping knickers with a wide-white waist band that has small orange toggles hanging off the front and a white flap off the back. He wears a blue mask with a white, abstracted face painted on. The mask has gold fabric attached at the top and bottom to represent hair and a beard. This right figure holds a small blue box with white design.
Carlos Mérida (Guatemalan)
Danza de los Pascolas y el Venado
1937 – 1939
Museum Purchase
1944.8

Senufo (Senufo (culture or style))
Korhogo Ceremonial Headpiece with Horns
1900 – 1983
Gift of Meryl Pinsof-Platt
1983/1.96

Dogon (Dogon (culture or style))
Walu Antelope Mask
1900 – 1971
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.26
Face mask made of wood, covered in white kaolin; face has round, bulging forehead, deep set narrow eyes, small round ears, fiber beard, open rectangular mouth and pointed teeth; basketry weave that held mask on the dancer’s head is visible at back and sides; raffia attachment on top of head frayed and missing.<br />
Salampasu (Salampasu)
Mask (Kasangu)
1920 – 1960
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.44
A full-body costume and mask depicting a human figure.
Kuba (Kuba (Democratic Republic of Congo style))
Mask and costume (bwoom)
1955 – 1965
Gift of Marc Leo Felix, Brussels
1986/2.5A

Ibibio (Ibibio)
Illness Mask
Gift of the Honerable Jack Faxon in memory of Pauline Faxon
1991/2.91
An oval wooden face made of dark shiny wood with a textile braid of hair all around, wrapped tight to the head. The eyes are slightly shut and the mouth is open.
Dan
Face Mask
1800 – 1999
Gift of the Robbins Center for Cross Cultural Communications in memory of Warren M. Robbins
2014/2.24
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Mineral Countenance
1934 – 1967
Museum Purchase
1971/2.150.7
This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Temptation of Saint Anthony
1934 – 1967
Museum Purchase
1971/2.150.8
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