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Weston's Animal Crackers (early 20th c.) - "Ezra the Elephant, bakery card from the Animal Masks series (D13)" - Comercial Color Lithograph - (17.5 x 13.7cm) Not on View - The MET

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Weston's Animal Crackers (early 20th c.) - "Ezra the Elephant, bakery card from the Animal Masks series (D13)" - Comercial Color Lithograph - (17.5 x 13.7cm) Not on View - The MET

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As a contemporary Latinx artist, Báez's work focuses on themes of colonization and the natural world, as well as more contemporary pop-culture. In this piece, she lays an abstract gestural painting over a 1911 diagram of the distribution of animal life accross the globe. This overlay of paint may imagine the current distribution of life as being different and more vibrant from what was scientifically portrayed. She may also be offering a new narrative other than that of the likely Western research that the diagram portrays, showing that other cultures have managed the natural worlds around them in a more spiritual, and less quantitative or representational manner.

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Firelei Báez (2022) - "Untitled (Plate 36. Vertical and Latitudinal Distribution of Animal Life)" Oil & Acrylic on canvas - (226.7 x 271.1 x 3.8cm) - America - currenly in gallery 229C CMA

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Firelei Báez (2022) - "Untitled (Plate 36. Vertical and Latitudinal Distribution of Animal Life)" Oil & Acrylic on canvas - (226.7 x 271.1 x 3.8cm) - America - currenly in gallery 229C CMA

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Candace Wheeler (1880s) - "Spider Web" - Pen, black Ink, & Gouache with Graphite scoring lines and corrections - (44.5 x 47cm) - American - currently at the MET

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Candace Wheeler (1880s) - "Spider Web" - Pen, black Ink, & Gouache with Graphite scoring lines and corrections - (44.5 x 47cm) - American - currently at the MET

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As a famed animal painter, George Stubbs was very interested in various animals from accross the globe. Living in London, he likely had access to menageries, where he could view animals brought to England from faraway places. Focussing on texture, Stubbs captures the essence of each aspect of this image by etching into it different textures. This clearly defines the leopard from the surrounding ground and tree bark. While this was modeled after a photograph, imagine the time it took to etch each little mark by hand. Very representational, isn't it?

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George Stubbs (1791) - "A Sleeping Leopard" - Softground Etching with Roulette Work - (18.1 x 23.7cm) Published in London - currently at The CMA. 

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George Stubbs (1791) - "A Sleeping Leopard" - Softground Etching with Roulette Work - (18.1 x 23.7cm) Published in London - currently at The CMA. 