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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
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))
Odalisque
1934 – 1967
Museum Purchase
1971/2.150.3
It is a grayish purple silk crepe kimono with wax-resist patterns, hand-painted design and metallic threads embroidery. The kimono is in full length and has elongated sleeves. The fabric is dyed with purple, leaving the family crest under the collar and the floral design part white. The dark purple scale pattern is added using wax-resist technique. Then the design of multiple kinds of plants is hand-painted with white, red, yellow, pale and blue green, and black colors. The half bottom of the family crest is also dyed with pink. There are mix of tropical flowers and foliage including four kinds of orchids, gladiolus, ferns, and ginger in red, yellow, green, purple, black and white hue. Embroidery is added in various metallic threads around the contours of flowers and leaves.
Minagawa Gekka
Summer crested kimono with orchid design on purple crackled ground (hibiware)
1945 – 1955
Gift of Howard and Patricia Yamaguchi
2005/1.359
A woman wearing a black hat reclines in a sketchily-rendered chair. Shown in a three-quarter view and angled towards the viewer's left, she sits quietly, looking straight ahead. She wears a fur-trimmed coat, and flexes her right hand, which is curled into a loose fist, upwards. The background is left blank.  The entire image is covered with a series of heavy diagonal slashes. <br /> Signed in the lower left of the composition, in the plate, "JTJ [the second J rendered backwards] / J.J. tissot"
James Jacques Joseph Tissot (French (culture or style))
La convalescente, cancelled proof
1875
Gift of Dr. and Mrs. Robert Aldrich
2004/2.164
A woman in an elaborate striped dress stands in an outdoor landscape, shading her eyes with her right hand and looking directly out at the viewer. She holds a white umbrella that dramatically frames her head (capped by a white hat) against the dark sky in the upper background of the composition. A contrasting white area of ground beneath the black sky leads into the foreground, where the woman stands at the edge of a pond surrounded by reeds and a large stalked plant.  <br /> Signed in the image, lower left, in the plate: "J.J. Tissot / 1875"
James Jacques Joseph Tissot (French (culture or style))
Matinee de printemps
1875
Gift of Dr. and Mrs. Robert Aldrich
2005/2.33
<p>The beginning of the 14th century saw a change in inlaid patterns from using both black and white clay to only using white clay, as demonstrated by this bowl. Concentric white circles extend around the upper and lower parts of the inner and outer surfaces, while the inner wall features a chrysanthemum design in three places. Sand is stuck to the foot and the outer base. The bowl is tinged with vivid yellow. Parts of the rim are slightly damaged, but the glaze is finely fused.<br /> [<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.107]</p>
Korean (Korean (culture or style))
Shallow bowl with inlaid chrysanthemum designs
14th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.250
A round water dropper in the shape of a curled fish. There are two holes, one located in the middle, near the tail fin, and the other near the head on the dorsal fin. The fish is a white and cobalt blue color.<br /> <br /> This is a carp-shaped water dropper produced within the vicinity of Bunwon-ri, Gwangju-si, and Yeoju-si area in Gyeonggi-do in the late 19th century. Its upper surface features a realistic carp design in relief and entirely colored with cobalt blue. Such animal-shaped vessels are simple in form, but they were esteemed by many for their auspicious meaning. The base is flat, wide, and stained by ink.<br /> [Korean Collection, University of Michigan Museum of Art (2014) p.184]
Korean (Korean (culture or style))
Blue-and-White Water Dropper in the Shape of a Fish
1867 – 1899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.286

Lisa Anne Auerbach
What's All This Talk About Dying for Revolution (Sweater)
2005 – 2009
Museum Purchase
2009/2.164A
This print depicts a desolate grey and brown seashore with waves hitting the shore from the left side of the sheet. Grey sky with grey and white clouds take up half of the sky. A black and grey castle with towers and spires is in the top right half.
Luigi Kasimir (Austrian)
Kronborg Slot
1919
Gift of Suzanne Kaplan Baker and Diane Kaplan Vinokur
2009/2.95
Print depicting the city of Paestum in Rome from the inside of a temple. The etching is in color, and the image was probably colored after the printing process was complete. The perspective is from the ground level, as if the viewer was standing inside the structure and looking towards the outside.
Luigi Kasimir (Austrian)
Paestum
1923
Gift of Suzanne Kaplan Baker and Diane Kaplan Vinokur
2009/2.97
Red knit skirt, paired with the sweater 2009/2/163A. The words IF NOTHING CHANGES are outlined in white along the bottom border of the skirt.
Lisa Anne Auerbach
If Nothing Changes, It Changes Nothing (Skirt)
2007
Museum Purchase
2009/2.163B
A bald man with a furrowed brow holds an open book to the viewer. The book&#39;s pages open to an illustration of a distressed animal. Writing in blue takes up the lower portion of the print and reads: &quot;I have the right to believe freely. To be a slave to no man&#39;s authority. If this is heresy so be it. It is still the truth to go against conscience is neither right nor safe. I cannot...will not...recant. Here I stand. No man can command my conscience.&quot;
Ben Shahn (American (North American))
Credo (small)
1960
Gift of the Robbins Center for Cross Cultural Communication, Founder Warren M. Robbins
2011/1.98
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