Advanced Search

K-12 Educator
K-12 Student
Museum Visitor
UMMA Docent
UMMA Staff
University Faculty
University Student
Between and Mortarboard


UMMA Object Specific Fields






Query builder

Visual Narratives

The artist has captured the story of the deer hunt with the fewest possible elements, in a way that is instantly recognizable and yet takes liberties with the classical tale. The forest is represented by two trees and a few sprays of foliage; the deer is a mundane gray, not magical gold; and Sita waits anxiously in a white marble pavilion, rather than a thatched hut. The vibrantly colored backgrounds divide the composition into zones that create mood and organize the narrative.
Artist Unknown, India, Central India, Malwa School
Râmâyana manuscript page: Rama kills the deer (folio no. 31)
1635 - 1650
ink, opaque watercolor, and gold | paper
Gift of Mr. George P. Bickford for the James Marshall Plumer Memorial Collection
1964/2.111
Chinese
Ivory snuff bottle with painted narrative scene
1920 - 1950
black and red paint | ivory
Gift of Mr. Robert W. Coggan
1980/2.81
A lady and her lover are shown in the center-left of the scene, holding hands and gesturing. An attendant appears behind the lady, and the two turn to look at her. A male attendant, along with a horse, is shonw in the bottom register, separated from the precincts of the palace where the main scene takes place.
Artist Unknown, India, Rajasthan, Jaipur School
Ragamala series: Ragini Minavati
1745 - 1755
ink, opaque watercolor, and gold | paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel.
1975/2.152
A woman stands in the center of the composition, with two peacocks shown on either side of her. She holds garlands and a flower in each of her hands. Monkeys and peacocks are seen in the trees, and two men appear near the top of a hill that frames the scene. They are pointing towards a pavilion located at the summit of the hill. Below the woman, lotuses and birds are depicted in the stream of water. The landscape is vibrant and abundant.
Artist Unknown, India, Rajasthan, Jaipur School
Ragamala series: Kukubha ragini
1745 - 1755
ink, opaque watercolor, and gold | paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel
1975/2.153
Honoré Victorin Daumier
Locataires et Propriétaires. Pl. 17: --Ah! ça mais.....arriverons nous bientot?.
1847
lithograph | paper
The Paul Leroy Grigaut Memorial Collection
1969/2.116
Honoré Victorin Daumier
Le juste milieu va bien, mais les affaires ne vont pas (Caricature politique, No
1832
hand-colored lithograph | paper
The Paul Leroy Grigaut Memorial Collection
1969/2.114
Honoré Victorin Daumier
Actualités. Pl. 229: Vous aurez beau faire, ma pauvre presse ultramontaine; vou
1866
lithograph
The Paul Leroy Grigaut Memorial Collection
1969/2.117
Among a gold and bright mineral pigmented landscape, Genji stands below a cherry tree in full bloom and watches Murasaki, who stands in an architectural structure. A distant stream and hilltops indicate the isolated setting.
Kanô Tsunenobu
Genji espies Murasaki for the first time, from the Wakamurasaki chapter of The Tale of Genji

1670 - 1680
ink, color, gold pigment and foil | paper
Museum Purchase made possible by the Friends of the Museum of Art
2002/1.168
William Baillie
Untitled
1723 - 1810
engraving | paper
Gift of Colton Storm
1951/2.1
A photograph of two tin figures in a shallow plane, set against a dark, black backdrop. The small figure on the left stands facing the large figure on the right, as the figure on the left points her figure authoritatively.
David Levinthal
Eva and Topsy
1999 - 2000
photogravure | paper
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2004/2.11.1
A photograph of tin figures in a shallow plane, set against a black backdrop. A woman carries a child across a featureless landscape. 
David Levinthal
Crossing the River
1999 - 2000
photogravure | paper
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2004/2.11.2
A photograph of two toy figures in a shallow plane, set against a black backdrop. The two figures kneel on the ground, flora made of the same tin material on either side of them. The figure on the left reaches out, touching the shoulder of the figure on the right.
David Levinthal
Bidding Farewell
1999 - 2000
photogravure | paper
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2004/2.11.3

0 Comments

4 Tags & 0 Keywords

Tags
Comparative — by seth@whirl-i-gig.com (February 13 2017 @ 1:09 pm)
Design — by seth@whirl-i-gig.com (February 13 2017 @ 1:09 pm)
Visual adaptation — by seth@whirl-i-gig.com (February 13 2017 @ 1:09 pm)
Visual narrative — by seth@whirl-i-gig.com (February 13 2017 @ 1:09 pm)

61 Collection Object Sources

Untitled (1951/2.1)
Eva and Topsy (2004/2.11.1)
Crossing the River (2004/2.11.2)
Bidding Farewell (2004/2.11.3)
The Slave Market (2004/2.11.7)
Lamentation (1970/1.179)
The Deposition (1959/1.133)
Exodus (1950/2.8)
In Prison (2000/2.224)
Before the Mirror (1950/1.169)
The Steerage (1995/2.23)
Birmingham Race Riot (1986/1.194.5)
Power Figure (2005/1.192)
Juggler (1951/2.62)
Night Shadows (1983/1.146)
Crowded Subway (2004/1.103)
Mine Strike (1935.23)
M.L.K. Jr. (1996/2.5)
Apsara Warrior (2007/2.79)
A Lie (1985/2.18)
Noah and the Dove (1960/2.156)
Encounter (1986/2.64.3)

Rate this Resource

AVG: 0 | Ratings: 0

& Author Notes

Creative Commons by-nc-sa (University of Michigan Museum of Art)

Last Updated

January 30, 2019 1:45 p.m.

Report


Reporting Policy