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Louisiana Indians Walking Along A Bayou. 

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Louisiana Indians Walking Along A Bayou. 

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Artist : Alfred Boisseau.
Culture : Native American.
Reasoning : Native Americans were severely mistreated, and in different ways that is part of their culture. To live and to persevere; to acclimate and change with whatever comes their way. ( I had to put the link because it just wouldn't let me do the picture.)

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Alfred Boisseau studied art at the École de Beaux Arts in Paris before immigrating to the United States at the age of 22. Boisseau's brother was the secretary to the French Consul in New Orleans, and he and his wife spent two years living in the city before moving to Cleveland, and later to Montreal. While in Louisiana, Boisseau took particular interest in the state's Native American population. The 1830s and 1840s witnessed the passage of the Indian Removal Act and devastating atrocities against Native Americans, and Native Americans' rapidly disappearing culture was the subject of considerable international concern. Boisseau likely saw the much-publicized 1845 exhibition of George Catlin's Indian Gallery shortly before he left Paris, and may have been inspired by the success of Catlin's portraits of Northern Plains peoples. Like Catlin's Indian Gallery, Boisseau's Louisiana Indians Walking Along a Bayou travelled the world to be exhibited in New York, New Orleans and at the 1847 Paris Salon.

Recommended

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Louisiana Indians Walking Along a Bayou - Alfred Boisseau - Google Arts & Culture

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Alfred Boisseau studied art at the École de Beaux Arts in Paris before immigrating to the United States at the age of 22. Boisseau's brother was the secretary to the French Consul in New Orleans, and he and his wife spent two years living in the city before moving to Cleveland, and later to Montreal.

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Artist : Gilvan Samico.
Culture : Brazilian.
Reasoning : South American was once filled with ancient tribes that worshiped animal gods. The significance of those cultures is still represented and recognized in Brazilian culture today. ( I had to put the link because it just wouldn't let me do the picture.)

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The Star Eater - Gilvan Samico - Google Arts & Culture

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The work of Gilvan Samico is marked by the influence of cordel literature, especially by the use of woodcut portraying religious, mythological, folkloric a...

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Portrait of A Gentleman with Cuirass and Red Bow. 

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Portrait of A Gentleman with Cuirass and Red Bow. 

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Artist : Pier Francesco Cittadini.
Culture : French.
Reasoning : French culture frequently painted respected people in wonderfully dramatic clothing. ( I had to put the link because it just wouldn't let me do the picture.)

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The painting was formerly in the Marcenaro Collection, at which time it was attributed to the French artist Nicolas de Largillière, and was bought by Cariplo in 1976. In the written assessment made by Federico Zeri on the occasion of the purchase, the work was attributed to Pier Francesco Cittadini, an opinion later shared by both Carli and Dell'Acqua. In the catalogue devoted to the Foundation's collection of antique art, the authorship of this painter of Milanese origin but Bolognese by adoption is questioned, and the work more generally attributed to the "Bolognese or French school". In fact, the elegant portrait of the young aristocrat wearing a parade cuirass and an elaborate scarlet necktie evokes the international culture in which Cittadini immersed himself during his stay in Rome, where he was in contact with Flemish and French artists who evidently influenced both his still lifes and portraits. Thus it would seem opportune to accept Zeri's opinion and opt for the attribution to this Lombard artist who settled in Emilia. The painting under consideration, therefore, is one of the artist's finest expressive achievements, due to his extraordinary skill in rendering the psychology of the sitter, a man who is very conscious of his social position; a skill that characterises every one of Cittadini's numerous portraits, (such as The Malvezzi Campeggi Family, Dozza, Museo Civico and Gentleman with his Son in the Pinacoteca Nazionale in Bologna), and seems to anticipate by several years the poetics of Fra' Galgario.

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Portrait of a Gentleman with Cuirass and Red Bow - Pier Francesco Cittadini - Google Arts & Culture

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The painting was formerly in the Marcenaro Collection, at which time it was attributed to the French artist Nicolas de Largillière, and was bought by Cariplo in 1976. In the written assessment made by Federico Zeri on the occasion of the purchase, the work was attributed to Pier Francesco Cittadini, an opinion later shared by both Carli and Dell'Acqua.

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Artist : Kongo peoples.
Culture : African.
Reasoning : If you look far into the past, there have been many African tribes throughout history. All of these tribes have a slightly different culture, and different art, like this ivory tusk.  ( I had to put the link because it just wouldn't let me do the picture.)

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The history of this carved ivory tusk involves a global journey across four continents, three generations, and multiple political eras. Ivory carvings like this one from pre-colonial Congo emerged in the cultural context of trade routes and port cities along the coast of Western Equatorial Africa. Carved in the coastal city of Loango, the ivory likely came from an elephant in the Congo Basin. Finished works, acquired by European shippers, made their way across the seas. According to family history, Wilhelm Hamburger purchased this ivory carving in India on his way home to Germany from the Far East. In 1939, when Wilhelm immigrated to Australia, the ivory passed to the home of his son in Stettin on the Baltic coast. The ivory survived World War II; it was hidden in shelters and was even buried for a time in the family's garden. After the Russian advance, the Hamburgers brought the ivory with them to Berlin, and then to America in 1947. It remained with the family's descendents until its gift to the University of Kansas.

Additional Items

Recommended

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carved ivory tusk - Kongo peoples - Google Arts & Culture

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The history of this carved ivory tusk involves a global journey across four continents, three generations, and multiple political eras. Ivory carvings like this one from pre-colonial Congo emerged in the cultural context of trade routes and port cities along the coast of Western Equatorial Africa.

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Artist : Alexander I. Laktionov.
Culture : Russian.
Reasoning : Militarism in Russia has been a focus in history. There are many lessons in history where it is extremely obvious that you're seeing  SOME kind of militarism. ( I had to put the link because it just wouldn't let me do the picture.)

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Isaak Brodsky had a huge impact on the work of Alexander Laktionov. The teacher's typical artistic techniques - a talent for delicate drawing, fine detail, and clearly depicted day-to-day nuances - form the basis of Laktionov's own approach.

This painting depicts Vasily Tsvetkov, a famous figure on the Leningrad cultural scene and keen collector. During the Great Patriotic War he headed an agit-prop department at the Political Directorate for the Leningrad Front and the Leningrad Military Publishing House. Tsvetkov was friends with numerous artists and writers. His collection included a vast number of manuscripts and drawings by his contemporaries. In 1942-1945, he kept a diary from the front, in which he asked leading figures from the worlds of science and art to write. He attached leaflets, brochures, and posters made in the besieged city, and that became an invaluable record in the city's heroic history. Tsvetkov kept this blockade diary, and was a favourite subject among painters who painted his portrait frequently.

The work was included in the exhibition:

"The Memories of the War" - Institute of Russian Realist Art, Moscow, Russia (09.05.2015-01.08.2015).

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Portrait of Colonel Vasiliy Tsvetkov - Alexander I. Laktionov (1910-1972) - Google Arts & Culture

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Isaak Brodsky had a huge impact on the work of Alexander Laktionov. The teacher's typical artistic techniques - a talent for delicate drawing, fine detail, and clearly depicted day-to-day nuances - form the basis of Laktionov's own approach. This painting depicts Vasily Tsvetkov, a famous figure on the Leningrad cultural scene and keen collector.

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Artist : Anonyme.
Culture : Greece.
Reasoning : In ancient times, Greece was a place of mythology, gods, and goddesses. There are many artworks depicting the Grecian culture, so I believe that this piece is an appropriate representation of such a historic culture. ( I had to put the link because it just wouldn't let me do the picture.)

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Hydria, Scene of Eleusinian Mysteries (front) - Anonyme - Google Arts & Culture

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Plants decorate the reverse of this hydria-a vase designed to hold and pour water. The principal floral motif is the palmetto, based on palm leaves. Curved...

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Beast Faced Celadon Tomb Guardian Sculpture, Yuezhou Ware. 

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Beast Faced Celadon Tomb Guardian Sculpture, Yuezhou Ware. 

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Artist : Tang Dynasty.
Culture : China.
Reasoning : There is much mythical legends in China, therefore something mythical in representation is perfect for representing China's Culture. ( I had to put the link because it just wouldn't let me do the picture.)

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This beast-faced guardian figure is one a pair (reference: Human--faced guardian, Yuezhou ware). The pair was discovered in a tomb dating to the Tang dynasty. This sculpture is a Yuezhou celadon ware.

Guardian beasts were used to guard tomb and usually appeared in pairs, one with the face of a man, one with the face of a beast. Tomb guardian beasts made of clay first appeared in the Northern Dynasties, while this one was made of porcelain colored brown under the glaze. These beasts, unearthed in Hunan Province, prove that the culture of Central Plains influenced the culture of southern China after the unification of the Sui Dynasty. The guardian with a man's face looks good-tempered. However the one with the face of a beast, with one horn on its head and mouth wide open showing its sharp teeth, looks ferocious. Most of the tomb guardians unearthed in Central Plains (the middle part of China) were unglazed. The beasts, with a shiny pale olive green glaze and decorated with brown dots, are lifelike and powerful. They are excellent pieces of art from the Yuezhou kiln in the Tang Dynasty.Tomb Guardian Beasts were created to protect the dead from evil disturbances so that the dead could keep on enjoying luxury after life. In the Han dynasty, the wooden tomb guardian beasts were replaced by pottery ones as a result of the influence of the culture of Western Asia. Most of them were done in multiple colors, which changed to three colors in the Tang Dynasty. It is the dazzling glaze that makes them seem ferocious.Tomb guardian beasts were firstly made in the Yuezhou Kiln during the Tang Dynasty. They were almost the same as their counterparts from the central plains, which were influenced by central culture.

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Beast-faced celadon tomb guardian sculpture, Yuezhou ware - Google Arts & Culture

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This beast-faced guardian figure is one a pair (reference: Human--faced guardian, Yuezhou ware). The pair was discovered in a tomb dating to the Tang dynasty. This sculpture is a Yuezhou celadon ware. Guardian beasts were used to guard tomb and usually appeared in pairs, one with the face of a man, one with the face of a beast.

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Bronze Figure of The Buddha Shakyamuni. 

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Bronze Figure of The Buddha Shakyamuni. 

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Artist : Eastern Indian Buddha Monastery.
Culture : India.
Reasoning : Buddha originated in India. What better way to express the culture than to show something created by it? ( I had to put the link because it just wouldn't let me do the picture.)

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This beautiful little bronze statue of the Buddha Shakyamuni was created at a Buddhist monastery workshop in eastern India, probably in the state of Bihar. It was made in the first half of the seventh century shortly after the end of the Gupta dynasty (fourth to sixth century AD) in what may be called a 'post-Gupta' style. It retains many of the features typical of the Gupta period: the figure is soft, gentle and simple, with heavy lidded, downcast eyes and 'snail shell' curls. It has an emotional serenity generally lacking in such figures of the preceding Kushan period.The statue is made of bronze and features a finely carved head with stylized curls and delicate features. The robes are folded and drawn across both shoulders and 'wet drapery' defines the bodily form beneath. The downward cast of the eyes indicates that this image was designed to be installed in an elevated position, on an altar, and, on occasions, to be carried in processions. It displays a number of the supernatural marks of Buddhahood, including skull protuberance and webbed fingers.In the history of Indian art, this type of Buddha is important in the stylistic development and spread of Indian cultural influence throughout Asia. It is credited with creating the quintessential Buddha-type, which spread and was copied throughout the Asian Buddhist world - in Pala eastern India, in Licchavi Nepal, in Tang China, and among the newly formed Hindu-Buddhist states of Southeast Asia.

Recommended

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Bronze figure of the Buddha Shakyamuni - Google Arts & Culture

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This beautiful little bronze statue of the Buddha Shakyamuni was created at a Buddhist monastery workshop in eastern India, probably in the state of Bihar. It was made in the first half of the seventh century shortly after the end of the Gupta dynasty (fourth to sixth century AD) in what may be called a 'post-Gupta' style.

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Artist : Charlie George Sr. Xalxidi.
Culture : Canadian.
Reasoning : This drawing shows the native peoples art style, and therefore their culture as well.  ( I had to put the link because it just wouldn't let me do the picture.)

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The eagle has just missed the salmon - Charlie George Sr. Xalxidi - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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Artist : Dongson culture.
Culture : Vietnam.
Reasoning : A lot of things in Vietnam are made by hand, so I thought a perfect representation of Vietnam culture would be something handmade by Vietnam native peoples. ( I had to put the link because it just wouldn't let me do the picture.)

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Explore collections and stories from around the world with Google Arts & Culture.

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The Three Races or Equality Before The Law. 

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The Three Races or Equality Before The Law. 

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Artist : Francisco Laso.
Culture : Peru.
Reasoning : Peru is a wonderful place filled with different people that all share the same culture; Peruvian culture. ( I had to put the link because it just wouldn't let me do the picture.)

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The Three Races or Equality before the Law - Francisco Laso - Google Arts & Culture

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In The Three Races or Equality before the Law -as in other examples of his work- the Peruvian painter Francisco Laso attempted to formulate a modern allego...

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Artist : Josep M. Brull.
Culture : Spain.
Reasoning : Spain has always been an extremely religious country, So I thought presenting a religious figure would be appropriate. ( I had to put the link because it just wouldn't let me do the picture.)

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Josep M. Brull Pagès (1907-1995) From his birthplace Ascó, when he was small he moved to Tivissa, where his father was a teacher. He graduated in teacher training in Tarragona. In 1927 he arrived in Ripollet, after obtaining a teaching post, and came into contact with the cultural circles in Sabadell, which was the start of his career as an artist. Brull consolidated his artistic apprenticeship at the Llotja in Barcelona and the Industrial School of Arts and Trades of Sabadell. In 1940 his passion to develop his artistic career took him to Olot, the meeting point of many artists of the time, where he experimented with new techniques and materials. He was a disciple of Bosch Roger, Xavier Nogués and Manuel Humbert. However, the Spanish Civil War and the victory of the nationalists would mark the most significant change in his life. Josep Maria Brull was accused of being a Catalanist and a separatist, and dispossessed of his teaching qualification, for publishing some texts in Catalan in the review Germanor. For this reason, the 1940 Brull Braut family decided to settle in Ripollet. There they opened a private school where Encarnació Braut, his wife and renowned painter from Ripollet, gave classes. The school remained open until the seventies. In 1943, he held his first individual exhibition at the Sabadell Academy of Fine Arts. In 1944 he started giving classes in modelling and ceramics at the Industrial School of Arts and Trades of Sabadell, which he would continue for over 30 years. His works often represent scenes depicting local customs, farm work and births. The sculpture La dama (The lady) is the portrait of a woman from the Balearic Isles in traditional attire. The work exudes Mediterranean identity in its forms and volumes, similar to the expressiveness of Egyptian hieratism, but with some personal touches which link it to current trends at the time of its execution. This was a recurring theme in the sculptor's work, which was executed in various materials, such as stone, granite and earthenware. 11th Julio Antonio Sculpture Award, 1952 Art Biennial.

Recommended

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The Lady - Josep M. Brull - Google Arts & Culture

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Josep M. Brull Pagès (1907-1995) From his birthplace Ascó, when he was small he moved to Tivissa, where his father was a teacher. He graduated in teacher training in Tarragona. In 1927 he arrived in Ripollet, after obtaining a teaching post, and came into contact with the cultural circles in Sabadell, which was the start of his career as an artist.

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Taking a Lesson From the Past - Iraq War. 

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Taking a Lesson From the Past - Iraq War. 

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Artist : Yong Meon Kang.
Culture : Korean.
Reasoning : I honestly just don't know on this one. ( I had to put the link because it just wouldn't let me do the picture.)

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Taking a Lesson from the Past - Iraq War - Kang, Yong Meon - Google Arts & Culture

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A plea to the guardian Sacheonwang for salvation from the Iraqi war.

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Artist : Franz Marc.
Culture : Germany.
Reasoning : This piece of artwork shows a little thought about side of the German culture; beautiful nature. Most people can only think of the cities in Germany. ( I had to put the link because it just wouldn't let me do the picture.)

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Young Horse in Mountain Landscape - Franz Marc - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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Artist : Sebesyén Vogel.
Culture : Hungarian.
Reasoning : I'll be honest, I know nothing  about Hungary. But this art piece seems so simple and fragile, kind of like how I imagine the country of Hungary. ( I had to put the link because it just wouldn't let me do the picture.)

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A type of furniture popular and characteristic of its age was the writing cabinet, or secretaire to give it its French name. Varying in shape and in decoration, it was intended, as an item of furniture for display, to reflect the taste and material possibilities of the owners of middleclass and aristocratic salons. A common structural element of these pieces is the pull-down writing flap, behind which many larger and smaller drawers and compartments were placed. Cabinet bodies which had curving sides, which became slimmer from the top down, and which were lyre- or urn-like in shape were especially widespread in Central Europe. On account of their daring and imaginative construction solutions, some of these pieces of furniture can almost be regarded as a species of sculptural creation, and in addition they were often ornamented with carved ornaments. This writing cabinet, which once stood in the home of the Zeyk family in Kolozsvar (today Cluj-Napoca, Romania), represents the transitional furniture style that bears marks of empire and Biedermeier alike. The mythological fantasy figures holding the foot and the body of the piece; the painted figure, in a frame of laurel leaves, of the young Ganymede, favoured by Zeus, on the door of the cabinet's middle part; and the ensemble of addition figural and ornamental motifs from the world of antique art that lack special interconnections are a legacy of the empire style, part of that process in the course of which elements of Graeco-Roman culture having lost their original meaning turned into decoration without more profound content. The sharp depiction on the mahogany veneer is - as an emphatic decorative element - already a characteristic of Biedermeier. Sebestyen Vogel (1779?-1837), who earlier was proposed as the creator of the writing cabinet, was the 'owner of the first Hungarian furniture factory'. Although in the absence of marking its precise origin cannot be determined, the piece may in any case have been made in the workshop of this well-trained and inventive master.

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Secrétaire - Sebesyén Vogel - Google Arts & Culture

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A type of furniture popular and characteristic of its age was the writing cabinet, or secretaire to give it its French name. Varying in shape and in decoration, it was intended, as an item of furniture for display, to reflect the taste and material possibilities of the owners of middleclass and aristocratic salons.

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Artist : Coclé.
Culture : Panama.
Reasoning : Panama is, stereotypically speaking, a place filled with sunshine. So going with that train of thought, a sun god ought to sum up panama decently.

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Artist : Sub-Artic Peoples.
Culture : Alaskan.
Reasoning : Alaskan culture is very different from others. It is unique in its style. ( I had to put the link because it just wouldn't let me do the picture.)

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Caribou-antler club - Google Arts & Culture

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The club has a fitted grip of skin, and is decorated with incised geometric designs, porcupine quillwork, and beads. The geometric designs may be abstract ...

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Artist : Libia Castro and Ólafur Ólafsson.
Culture : Australia.
Reasoning : Australia is unique and different in so many ways, I thought that a perfect example of that uniqueness would be this very interesting and beautiful piece of art.
( I had to put the link because it just wouldn't let me do the picture.)

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For the 19th Biennale of Sydney, Libia Castro and Ólafur Ólafsson spent time in Sydney, extending on their earlier 'Bosbolobosboco' works, to create a large new biomorphic audio sculpture. In collaboration with The Refugee Art Project and psychologist Nina Melksham, Castro and Ólafsson have produced Bosbolobosboco #6 (Departure-Transit-Arrival) (2014).

Constructed with large amounts of humble sticky tape, the sculpture resembles a giant root cluster with tentacle-like spaces in which viewers are invited to sit or lie and listen to the embedded audio through headphones. Using methods of relaxation and memory visualisation, four refugees from diverse backgrounds describe, in dialogue with Melksham, images of departure, transit and arrival, from memories of their journey to Australia. The work is the latest in a series of unique sculptural installations which incorporate audio components that include the voices of people from different layers of society, discussing issues of citizenship and the connected themes of belonging and exclusion.

The nonsensical term 'Bosbolobosboco' stems from a playful tradition in Castro's family of inventing gibberish words for loved ones as well as animals and personified objects; a kind of surrealistic or dadaist approach to one's world and intimate relationships. For Castro and Ólafsson, the title describes the works' existence - their shape, material and content - somewhere between a strange, artificial artefact and a living, endearing being.

These works speak conceptually to Castro and Ólafsson's ongoing critique of insatiable capitalism and the effects of globalisation on local culture and industry. Their first Bosbolobosboco works were intended as spatial interventions, unapologetically occupying their environment and seemingly swallowing its contents whole. Later iterations incorporate audio components that give voice to people on the margins of society, such as migrants and the elderly. Bosbolobosboco #4 (2004), for example, includes an audio account of an undocumented asylum seeker from Sierra Leone. Having survived civil war and an escape from rebel forces, now sick with AIDS and cancer, she is still fighting for the right to stay in The Netherlands.

Castro and Ólafsson have been working together since 1997, building a conceptually rigorous practice that draws on their diverse backgrounds and transnational experiences. Their work is invested in deconstructing the very notion of nationality, in highlighting matters of labour, migration, identity and citizenship, and the connected themes of belonging and exclusion.

Another work, Avant-garde citizens (2007-), depicts undocumented people living in The Netherlands, Egypt and Cameroon. The video portraits filmed in The Netherlands are monologues set in the countryside - that quintessential signifier of 'Dutchness' adopted by seventeenth-century landscape painters. With their backs to the camera, Sam, Leyla and Janneke tell their stories of displacement, hardship and uncertainty, all the while looking at the land that denies them asylum. Everybody is doing what they can (2008-09) is similarly composed of a series of individual portraits, yet here they comprise a collective of Icelandic citizens from a wide variety of socioeconomic, cultural, political and racial backgrounds.

Solo exhibitions of Castro and Ólafsson's work include 'Asymmetry', TENT, Rotterdam (2013); 'Under Deconstruction', National Gallery of Iceland, Reykjavik (2012); 'Libia Castro & Ólafur Ólafsson: Tu país no existe', Centro Andaluz de Arte Contemporáneo, Seville (2011-12); and 'Libia Castro & Ólafur Ólafsson: Recent Works', Künstlerhaus Bethanien, Berlin (2008). They have also participated in prestigious international group exhibitions, including 7th Liverpool Biennial (2012); 5th Nordic Biennial of Contemporary Art, Moss (2009); and Manifesta 7, Rovereto (2008). In 2011, Castro and Ólafsson represented Iceland at the 54th Venice Biennale.

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Bosbolobosboco #6 (Departure-Transit-Arrival) - Libia Castro and Ólafur Ólafsson - Google Arts & Culture

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For the 19th Biennale of Sydney, Libia Castro and Ólafur Ólafsson spent time in Sydney, extending on their earlier 'Bosbolobosboco' works, to create a large new biomorphic audio sculpture. In collaboration with The Refugee Art Project and psychologist Nina Melksham, Castro and Ólafsson have produced Bosbolobosboco #6 (Departure-Transit-Arrival) (2014).

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Artist : The Maori Peoples.
Culture : New Zealand.
Reasoning : The Maori People are an indigenous population of New Zealand. This art represents the old culture that once was.

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Artist : Alberto Casado.
Culture : Cuban.
Reasoning : This piece of art makes me think of playing dominoes in the heat, listening to some kind of busy market. Considering that's what I think when I think about Cuban culture, I thought this piece of art was appropriate.
( I had to put the link because it just wouldn't let me do the picture.)

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Among the decorations and talismans in many Cuban homes it is common to find objects made from shiny colored glass underlaid by a figure made from aluminum foil. . Popular subjects are birds and young women. For example, are a peacock with its tail feathers displayed or a sort of idealized kimono-clad geisha with parasol.

Adopting this form, Alberto Casado's luminescent canvases of recycled glass and aluminum foil depict subjects from a broad spectrum of contemporary Cuban culture. Among his many subjects is Martí.

In the three portraits that follow, Martí is seen first with his face covered in brightly covered dominos, in his hand is what might be a domino with the image of an old-fashioned kerosene lamp. The portrait carries the legend - Buen Jugador (Good Player). In the second portrait, Martí holds what is definitely a playing card, but one that identifies the organization name and date of one of his earliest exhibitions in New York. Two of the three pictures carry the legend, Yo abpazo a todos los que saben amar (I embrace all those who know how to love).

In using this popular style and integrating it in the language of contemporary art, Casado succeeds in validating a popular form; one understood and appreciated by countless Cubans.

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Buen Jugador - Alberto Casado - Google Arts & Culture

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Among the decorations and talismans in many Cuban homes it is common to find objects made from shiny colored glass underlaid by a figure made from aluminum foil. . Popular subjects are birds and young women. For example, are a peacock with its tail feathers displayed or a sort of idealized kimono-clad geisha with parasol.