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W19 Docent Print Viewing-Holoka

German
Illustration from an Augsburg Bible (Incunabulum)
15th century
hand-colored woodcut | paper
Museum Purchase
1930.24
Seven figures wearing brightly colored clothes dance together in a room.
Elizabeth Olds
Harlem Dancers
1939
woodcut | paper
Allocated by the U.S. Government Commissioned through the New Deal art projects
1943.100
A group of four men gently lower a figure into a tomb that is placed parallel to the viewer. To the left is a group of mourners with hands clasped.  One female figure kneels at the ledge of the tomb and holds a covered jar.  Behind the figures is a rocky landscape with a fence and guard at the gate in the distance at the left.  An entrance to a cave is indicated on the right, directly behind the tomb, with the use of dense, dark hatching.  At the lower right corner is a circlet of thorny branches.
Albrecht Dürer
The Entombment from "The Small Woodcut Passion"
1509 – 1511
woodcut print | laid paper
Gift of Prof. Eugene and Mrs. Marie Glysson
2011/2.57
This is an abstract multi-colored woodcut print with visible wood grain. The background color is primarily peach. The colors in the print, including blue, green, yellow, white, orange, and brown, appear to drip down and run into each other. <br /><br />
This is 18th in an edition of 30.
Helen Frankenthaler
Tales of Genji I
1998
woodcut | light sienna TGL handmade paper
Museum purchase made possible by a gift from Helmut Stern
1998/2.18
This print contains four distinct scenes demarcated by boxes which depict four different incarnations of a deity. 
Bernard Picart
Religious Ceremonies and Customs of the People of the World: Incarnations (Avatars) Five through Eight of Vishnu
1722
copper plate engraving | paper
Gift of Professor Walter M. and Nesta R. Spink
2007/2.123
This print shows a circle divided into six sections like a pie. Each piece of the pie is filled with a miniature scene. In the center, the text reads "Six ways to draw on copper," and has the numbers one through six corresponding to each section . Underneath are two columns of text also numbered one through six naming the print technique used on each section which are:<br /><br />
1. Softground<br />
2. Engraving<br />
3. Mezzotint<br />
4. Etching<br />
5. Aquatint<br />
6. Drypoint
Reynold Henry Weidenaar
Six Ways to Draw on Copper
1948
softground, engraving, mezzotint, etching, aquatint, drypoint | paper
Gift of Carl Fredric Clarke
1949/1.52
This is a nighttime view of a city on water. Along the horizon can be seen numerous buildings and ships. At center left is a three-masted ship at anchor; along the right side are buildings, incuding domes and a tall tower. Throughout the image, there is an importance given to reflections and the nocturnal setting.
James Abbott McNeill Whistler
Nocturne, from the "Twelve Etchings" or the "First Venice Set"
1879 – 1880
etching and drypoint, printed in warm black ink | laid paper, trimmed to platemark
Bequest of Margaret Watson Parker
1954/1.372
A man stands within a wooden building, postioned half-way down a deep vista that goes all the way through the building. At the far end of the passageway, a seated figure faces out looking at water and buildings on the opposite shore. The standing man's figure is illuminated by a bright (unseen) overhead light source, such as a skylight, and pairs of ladders are visible on either side of his figure. The foreground of the image consists of dark timbers that frame the view of the passageway and figures; beyond the man, the wooden architecture becomes a jumble of different sloped ceilings and walls, suggesting that this part of the building was constructed at different times or ad hoc.
James Abbott McNeill Whistler
W. Jones, Lime-burner, Thames Street, one of the "Sixteen Etchings," or the "Thames Set"
1859
etching and drypoint | laid Japan tissue
Museum purchase made possible by the Alfred E. Pernt Memorial Fund, in honor of Dr. of Technical Sciences Max H.J. Pernt and his wife Anna Pernt (née Mueller)
1986/2.14
This print has rows of stencilled black text in all capital letters on black background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45". 
Glenn Ligon
Untitled
1992
etching, aquatint, spitbite, sugarlift | Rives BFK paper
Museum Purchase
1993/2.13.3
This print has an abstract design with thick black circular lines. There are blue circles in bottom right corner of the print and a red, yellow, and orange abstract shape in center of print. The print is signed (l.r.) "Matta" and numbered (l.l.) "64/125" in pencil.
Roberto Matta
La Catalyseur
1961
color etching and aquatint | Arches paper
Museum Purchase
1962/2.35
Rembrandt van Rijn
Ephraim Bonus, Jewish Physician
1647
etching, drypoint and engraving | paper
Bequest of Margaret Watson Parker
1954/1.308
Johannes Teyler
Bowl of Flowers
1683 – 1693
etching, printed in color | paper
Museum purchase made possible by the W. Hawkins Ferry Fund
1999/1.93

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January 10, 2019 11:05 a.m.

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