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Artist's name： Martin Johnson Heade
Title of artwork：Magnolias on Light Blue Velvet Cloth

Year it was create：1885/95
Material/Medium： Oil on canvas

The reason I chose this painting is because, magnolia is my favorite flower. And this vivid painting of magnolia flowers caught my eye when I was doing research. Giant magnolia on blue velvet cloth In one of the most original nineteenth-century still life paintings, bright flowers and leaves contrast against a dark background. To me, they also have a strong sensuality, lush colors, full, curvy silhouettes, a sense of opulence, and a subtle fragrance that hints at flowers, like female nudes lounging on plush sofas. The artist of the painting, Martin Johnson Heade, is known for his depictions of salt marsh landscapes, seascapes and tropical birds such as hummingbirds, as well as lotus and other still life paintings. His painting style and subject matter, although derived from the Romanticism of the time, are seen by art historians as a major departure from his peers.

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Magnolias on Light Blue Velvet Cloth

Date:

1885/95

Artist:

Martin Johnson Heade
American, 1819-1904

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About this artwork

This sensuous and decorative image dates from the later part of Martin Johnson Heade's long, varied, and peripatetic career. Traveling through much of the United States, to England and continental Europe, and (three different times) to Brazil, he produced work ranging from pristine views of East Coast salt marshes and lush tropical landscapes to pictures of exotic hummingbirds and orchids. At the age of sixty-four, Heade settled in Saint Augustine, Florida. There he began painting detailed arrangements of native flowers, including the Cherokee rose, orange blossom, and magnolia. Stretched out like an odalisque on blue velvet cloth, the curvaceous magnolia was meticulously rendered in pale, subtle hues and illuminated by a light so sharp that the image evokes the hyperintensity of a dream. The warm, steamy atmosphere is almost palpable, as is the blossom's heady, pungent scent. The Art Institute's Magnolias is one of a number of compositions by the artist featuring this dramatic yet delicate white flower.

Status

On View, Gallery 173

Department

Arts of the Americas

Artist

Martin Johnson Heade

Title

Magnolias on Light Blue Velvet Cloth

Origin

Florida

Date

c. 1885-1895

Medium

Oil on canvas

Inscriptions

Signed, lower right: "M. J. Heade"

Dimensions

38.6 × 61.8 cm (15 1/4 × 24 3/8 in.)

Credit Line

Purchased with funds provided by Gloria and Richard Manney; Harold L. Stuart Endowment

Reference Number

1983.791

IIIF Manifest

https://api.artic.edu/api/v1/artworks/100829/manifest.json

Extended information about this artwork

Publication History

Theodore E. Stebbins, Jr., The Life and Works of Martin Johnson Heade (Yale University Press, 1975), p. 276, no. 331.

A Record of Sharing (Art Institute of Chicago, 1984), p. 24 (ill.).

The Art Institute of Chicago Annual Report, 1983-1984, (Art Institute of Chicago, 1984), p. 9, fig. 8.

Master Paintings in the Art Institute of Chicago (Little, Brown, and Company, 1988), p. 92 (ill.).

Judith A. Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998).

Judith A. Barter, "True to the Senses and False in Its Essence: Still-Life and Trompe l'Oeil Painting in Victorian America," Museum Studies 31, 1 (Art Institute of Chicago, 2005) p. 38 (ill.).

Paintings at the Art Institute of Chicago: Highlights of the Collection, (Chicago: Art Institute of Chicago/Yale University Press, 2017) p. 88.

Exhibition History

New York City, M. Knoedler and Company, The American Vision, Paintings 1825-1875, Oct 8-Nov 2, 1968, cat. 43.

Provenance

Private collection, Chestnut Hill, Penn., by 1975; Spanierman Gallery, New York Cit, 1983; sold to The Art Institute of Chicago, 1983.

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Magnolias on Light Blue Velvet Cloth | The Art Institute of Chicago

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Show this image Show this image Magnolias on Light Blue Velvet Cloth 1885/95 Martin Johnson HeadeAmerican, 1819-1904 Discover More Discover More This sensuous and decorative image dates from the later part of Martin Johnson Heade's long, varied, and peripatetic career.

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Artist's name: Claude Monet, Title of artwork: Water Lily Pond, Year it was created:1900, Material/Medium: Oil on Canvas 

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This artwork was inspired by a man who transformed the marshy lifeless pond in his backyard, into an elegant lively pond with a Japanese-style wooden bridge. After transforming the pond, he decided to create an art piece of the pond. I chose this piece because I think the concept behind it was really interesting, to take something lifeless and given up on, and to transform it into something really beautiful. This piece also reminded me of the example used in the art ted talk type video we watched in one of the assignments earlier back. I relate to this artwork because I as well have interest in transformations, whether it is transformations in myself, or transformations in the small things around me. I am always trying to make changes for the better.

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Edward Hopper
Nighthawks

1942

Oil On Canvas

I picked this work of art for personal taste. It is the realist and simple shapes in the photo that grab my attention. The art is simple not over the top just picturing a late night at a diner.

Personally I don't think I can relate to this art work to the literal sense personally. I think it drew me to it because I had some late nights with friends kind of in this setting last to leave a restaurant. This painting kind of reminds me of that.

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Francisco de Zurbarán

The Crucifixion

1627

Oil on canvas

I think the purpose of this piece is to represent the death of christ. The artist chose to show this image on a dark blank background to put the focal point of the painting onto christ himself. The pain is communicated more this way rather than him being depicted in a large crowd.

chose this art work because of the definition and focus on christ. With my family being religious I have seen this image many times but have not seen many where there is a blank background. There always is a crowd around him or something in the background taking the focus away.

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Nicolas Poussin

Landscape with Saint John on Patmos

1640

Oil on canvas

I think poussin was trying to capture the image of john writing scripture in God's creation. He is seen laying in the bottom of the image and above is a vast and detailed background of ruins and trees. I chose this for my art for beauty sake.

This painting draws me in because of the background in the photo. The detail of the trees and city beyond somewhat relates to how people today can discover great things when removing themselves temporarily from society and self reflecting spiritually and physically.

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1. Robert S. Duncanson 2. Landscape with Cows Watering in a Stream 3. 1871 4. Oil on canvas

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What is the purpose or aim of this artwork?

I believe this piece is great in my opinion because of the amazing scenery painted; I relate to it, and I am sure many others would as well, because of the natural beauty of nature here, as well as the cows.

Why did you choose it among all others? How do you relate with this artwork?

I choose this artwork over the others because it portrays the natural beauty of nature, as well as the cows. I guess I like the cows there because it relates to how much I appreciate the great outdoors.

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1. Theodor Kaufmann 2. On to Liberty 3. 1867 4. Oil on canvas

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What is the purpose or aim of this artwork?

According to the picture's description on The Metropolitan Museum of Art, it is a painting of "a group of fleeing figures shows the lack of a clear route to liberty." I believe the artwork's objective or "aim" is to show the general public what war can and does to people, especially women and children.

Why did you choose it among all others? How do you relate with this artwork?

While looking for a work, this painting caught my eye because it depicts the effects of war while still being a really detailed and wonderful looking picture.

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1. Augustus Saint-Gaudens 2. Hiawatha 3. 1871–72, carved 1874 4. Marble

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What is the purpose or aim of this artwork?

According to the website, this piece was inspired by Henry Wadsworth Longfellow's epic poem "The Song of Hiawatha" from 1855, which depicts a fictional Ojibwe chief pondering the wellbeing of his people while holding his quiver of arrows and bow nearby. The goal, I suppose, would be for someone to be inspired by words and use that inspiration to build something beautiful to look at and admire.

Why did you choose it among all others? How do you relate to this artwork?

First and foremost, I adore sculptures; it's one of the few arts I'd like to master. While many people can paint, I believe sculpting is a completely different process than painting; it's three-dimensional and appears to me to be more difficult. Not that I connect in any meaningful manner, but I can understand the admiration for the skill and the proficiency required for it, as well as the struggle to bring something to life from nothing more than your imagination and the words of someone who inspired you.

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Rainy evening by Leonid Afremov, 2017. Oil on Canvas

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I choose this piece because of the beautiful colors and the abstractness of it. It has good depth, contrast, and the movement (people walking) of the piece makes it a complete piece. I love taking long walks in the rain. It reminded me of my childhood and living in Seattle where we got to do this quite often. There's just something about being out in the rain that makes me feel really calm and at peace with myself. This painting captured all of that for me.

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"Hope" by Shepard Fairey, 2008. Color lithograph on white wove paper.

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I choose this piece because of the strong political message that gave out at the time that it was created. Seeing it gave me a sense of hope and it conveyed the message to stay positive and to believe in President Obama. I also like realism aspect of the picture and the contrasting colors that were used. As a whole, I think the artwork has a good flow and works well altogether.

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Paris Eiffel Tower Lighted by Leonid Afremov, 2017. Created with Oil on canvas and a palette knife.

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I choose this painting because I think the artist did a wonderful job in portraying the landmark. I love the color palette that he used to light up the Eiffel Tower at night, it has a real pop to it. The depth and details are really good and overall I think the painting has a very even visual weight to it. When I look at this particular painting, it reminds me of my favorite time of the year, the holidays and all of the colorful decorations and lights that come along with it.

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1889 Artist:Vincent van GoghDutch, 1853-1890

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i choose this because the bed of artwork it show gloomy and alone, the room of color is like sad emo

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 Starry Night and the Astronauts Date: 1972 Artist: Alma Thomas American, 1891–1978

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i find this artwork really confusing because it show like water and orange red boat

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 Nightlife Date:1943 Artist:Archibald John Motley Jr. American, 1891–1981

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i pick this artwork because it show you how old nightclub in back a days and remember nolgastic how nigthclub works

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Arist: Dawg painter tittle: Aussie- Happiness year oct 14th, 2014, Materiel/medium: painting- Acrylic on canvas.

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The purpose of this art is to show how this painting represent how beautiful dogs can be an especially my dog. when I look at the painting it make me feels warm, loving, and express my love for my dog Thid should make any person want to go hug their pet. I chose this artwork because it really represents the beauty in animals. the true beauty is that animals love their human with the most love.

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army art collection, title: enduring freedom, year:2003, material: oil on canvas.

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the purpose of this artwork is to present that I serve in the military as a united states marine corps. this express a lot of emotion because the military will always be a big part of my life. enduring freedom was a war that I never had the chance to go since at my time of serves was at peace, i give the most respect to those that were at that war. this should connect everyone since freedom is never free and those who choose to protect that freedom should never be forgotten. I chose this artwork because it represent sacrifices, freedom, loyalty to this country.

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Marble statue of the discus thrower. Roman copy of a Greek original. Sculpted after Myron, ca. 140 AD (National Museum of Rome – Palazzo Massimo alle Terme

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the purpose of this artwork is to show that i have a passion to the Olympic sports as well as having the look of a Greek God. everything about the statue makes me feel the history of the sport and the tradition of this sport. i chose this artwork because i love sports and love to be healthy and fit because i workout for a living.

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Vincent Van Gogh, Wheat Field in Cyrpress, 1889, Oil on Canvas 

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For me, the beauty in this piece stems from the fact that I feel like it can be anywhere. I grew up on Bob Ross, so maybe I'm partial to a landscape, but I really feel transported with this piece. The waving and contour lines of the clouds make me feel like there's a breeze gently pushing them across our view. The hues used are also very appealing with the contrasting yellow and blue, then we meet in the middle with the shades of green. This is one piece I would love to have in my home, when I look at it I feel at peace, it reminds me that there's serenity outside of busy work/home lives.

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James Sommerville, Ocean Life, 1825-1899, Watercolor on Off White Woven Paper

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I chose this piece because it's something that, at first, I hated to look at. I have a fear of the ocean and some mild tryptophobia, the underwater world is never really something I thought of as beautiful. This piece has so many incredible parts for your eyes to discover and the detail is truly spectacular. While I think the purpose of this art is to accurately depict sea life, I also know that it inspires a love of the ocean and all the life it holds. This is a piece I would want in a child's room so they can look and find what they want to learn more about from it. Just as our world up here on land is full rich diverse life, so is our underwater world!

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Bashi-Bazouk by Jean-Léon Gérôme (1868–69), Oil on canvas

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I like how this artwork shows the strength of a woman like she is ready to fight. I like how there aren't any emotions, the woman is serious with her head up high. I chose this piece because it shows another side of a color woman as a portrait. The other pieces showed white women being posed as gentle or purity but with this painting she is a strong woman.

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Christ Carrying the Cross by El Greco (Domenikos Theotokopoulos) (ca. 1577–87), Oil on canvas

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I chose this piece because it is a representation of when Christ carried the cross before dying. I like how it shows Christ was willing to die for us humans because of our sins and also it is part of my religion this event. I like how you can see the pain in his eyes and how detailed the whole painting is. This painting is different from others because it's an important event from the Bible and shows him as an adult, not a baby which is commonly painted. Lastly, it connects with religion and the significance during Holy Week.

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Sunset on the Sea by John Frederick Kensett (1872), Oil on canvas

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I chose this painting because I love sunsets and I think they are something beautiful to look at. It expresses relief because when you look at one, you forget about your surroundings and you concentrate what is in front of you. This painting reminds me of a beautiful sunset I saw in Hawaii and brings back good memories. I like how simple it is but it captures a great moment. I also like how the yellow and blue combine so good and the reflection in the water makes it real.

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Jean-Baptiste Greuze, Broken Eggs, 1756, Oil on Canvas

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I chose this piece for the sake of expression. I initially thought this was symbolic of a financially worried family, disappointed in their daughter dropping eggs. After reading the synopsis provided by The Met Museum, I learned that the eggs could symbolize fertility. Meaning aside, this is a visually appealing piece.The poses of the people and their clothing have a lot of detail and I love the naturalistic style of painting here. I think this is appealing to me because of the emotion shown on their faces. You can connect with every person from the anger and accusatory gesture of the woman, to the child crouched trying to stay quietly out of view. I think this piece is important because it connects to our world still today.

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Henri-Edmond Cross, "Landscape with Stars", 1905-1908, Watercolor on white wove paper

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This artwork aims to represent twinkling yellow stars in the night sky and, in my opinion, is similar to "Starry Night" by Vincent Van Gogh. I think this artwork is beautiful because of how simple it is and how the stars are painted imperfectly using long painting brush strokes. This art represents hope, peace, and nostalgia-- feelings that I would feel if I were to be looking under a starry sky. I think that this artwork paints a narrative of a Starry sky in the Desert, given the landscape that appears to be a desert-like terrain in the background of the painting.

I chose this painting for the sake of how beautiful it was to me. I'm a massive fan of starry skies and the feelings they can bring when you're sky-watching and looking at stars in real life. So I thought I'd choose this piece and share it with others so that everyone can get a similar experience by looking at this painting.

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George Inness, "Spring Blossoms", 1891, Oil and Crayon on Canvas

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I think this piece by George Inness is beautiful simply because of the emotions it evokes within me. The image is a simple woman running through a forest of trees on a cloudy day; time-wise, the setting could even appear early in the morning. I think this painting perfectly captures the distillation of peace we all crave and the peace we sometimes can only get when we are immersed in nature by ourselves. I've always been a massive fan of gloomy weather, so seeing this painting that combines both that and nature is unique to me. I think that this painting tells a story of freedom and how free it can feel when we take the time to experience the outdoors by ourselves.

I chose this piece among many others because I resonate with the art. Lately, I've been spending a lot of my time outdoors, whether for a walk, bike ride, or jog in the evening or early morning, to practice mindfulness. The artwork reminded me of myself when I went for these long walks, bringing me lots of comfort.

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Dante Gabriel Rossetti, "Lady Lilith", 1867, Watercolor and Gouache

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This artwork is beautiful because it captures a self-absorbed woman from the 19th century. It shows a woman who is clearly vain and in love with herself as she stares into a mirror intently while combing her hair. I think that this piece serves to unify us on the agreement that being self-absorbed is unattractive when you get past its beauty. While it's vital to love yourself, loving yourself too much can be vain, and I think this idea applies very well in the age of Instagram and TikTok influencers who pride themselves on personal looks and numbers of followers.

I chose this piece among all of the others because of the pastel colors and the 19th century theme that's going on within the art. I relate to this piece of art because growing up on the internet, I've seen a lot of my friends chase popularity, followers and nearly post themselves online every day, worried about how many likes they'll get on Instagram. The constant anxiety about worrying about what other people think is a prominent issue that many self-absorbed people face, so they have to make up for that love by loving themselves 10x harder.

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Sometimes  a piece of painting can play with your memories and even help you remember the past.

A Beauty
Artist: Kaigetsudo Doshin
Date: 1701-1733
Medium: Hanging scroll, ink, colors, and gold on paper
Dimensions:110 x 46.8 cm ( 43 3/16 x 18 7/16 inches)
Origin: Japan

What makes the artwork beautiful in my eyes are the combination of colors in the art. Though I am not an artist, , I enjoy looking at fine work of art. I also enjoy looking at Asian art work and the way in which the Komo was displayed, it really pick my interest and admiration.
I chose it among the others because, I love color, it reminds me of the colors in our traditional dress in the Caribbean. Also the tropical colors the Caribbean is famous for. Also, I love fashion, and the Komo adds more to style and beauty for me.

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Whistler’s Mother, after Whistler

Date:  1871

Artist: James McNeill Whistler
Medium: Oil on Canvas
Movement:  Modern art,  Realism
Dimensions: 4' 9" x 5' 4"

Whistlers originally titled the painting arrangement in Gray and Black to emphasize its aesthetic qualities rather than its subject matter. The picture in this artwork has become an icon of motherhood.
The painting looks beautiful. The choice of colors is reminiscent of the vintage look that i grew up seeing my grandmother wore. The colors are neutral and the painting itself represents a mother/grandmother. The peaceful demeanor that she presents while sitting in the chair with her hands together brings back good old days in a village in the Caribbean with my grandmother sitting in the living room.
I chose it among the others because, I grew up with my grandmother, and she often sat in her chair in the living room close to a window, on other occasions she would sit quietly under a tree in the yard reflecting. It was one of her past favorites. Something i admired about her.

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Water Lilies

Date: 1906

Artist: Claude Monet (French).
Dimension: 89.9 x 94.1 cm ( 35 3/8 x 37 x 1/16 inches)
Medium: Oil on Canvas

These art work replaced the varied contemporary subjects Claude Monet had painted from 1870s through 1890s with a single, timeless motif called "Water Lilies. The focal point of this painting was Monet's beloved flower garden, which featured a water garden and a smaller pond spanned by a Japanese footbridge.
What makes it beautiful in my eyes. I am from a tropical island in the Caribbean which I mentioned earlier, seeing the water lilies on a piece of artwork brings back memories of seeing lilies growing on the river banks, the beauty of it and how marvelous it is to see the stems move as the water flows in-between them. In my opinion, the story it tells is how beautiful, peaceful life can be when we are surrounded by nature and are in the right environment.
I chose it among others because, I grew up looking at lilies grow on the river banks, I  enjoyed cutting the lovely flowers to make bouquets for the living room at home. Memories of growing up are among the top reasons for choosing it among other paintings. The beauty, the colors, are all reminiscent of the " Nature Island". Tropical beauty and water.

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Similar sword grips of ivory, carved with fanciful Rococo ornament of shells and waves, are recorded in the armory of the prince-elector of Bavaria in Munich in the 1740s. At the top of the grip, the lion holds a crescent moon beneath its paw, probably alluding to recent European victories over the Ottoman Turks in Eastern Europe.

Title: Hunting Sword with Scabbard

Sword maker: Grip attributed to Joseph Deutschmann (Germany, 1717–1787 Passau)

Date: 1740

Geography: possibly Munich

Culture: Germany, possibly Munich

Medium: Steel, silver, ivory, wood, leather

Dimensions: L. 29 1/2 in. (74.9 cm); L. of blade 23 1/4 in. (59 cm); W. of blade 1 1/8 in. (2.8 cm); D. of blade 5/16 in. (0.8 cm); Wt. 1 lb. 2 oz. (510.29 g); Wt. of scabbard 1 lb. 6 oz. (624 g)

I chose this piece of art because it is a magnificent and luxurious hunting sword. That is truly a royal item. It is beautiful and reasonably practical, and it is an authentic military weapon. It was made with the most outstanding craftsmanship, and the handle is made of ivory and decorated with the figure of a lion.

https://www.metmuseum.org/art/collection/search/22914

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Art for the sake of religious expression

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Art for the sake of religious expression

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Dionysos, god of wine and divine intoxication, wears a panther skin over his short chiton and his high sandals with animal heads on the overhanging skin flaps. He stands beside an archaistic female image whose pose and dress imitate those of Greek statues carved in the sixth century B.C. It is difficult to know whether the original Greek bronze statue of Dionysos, of which this is a copy, included the female figure. Supports in the form of pillars, herms, and small statues were not uncommon in Classical art, but this figure may have been added to support the outstretched arm and may represent Spes, a Roman personification of Hope, who was commonly shown as an archaistic maiden. The ancient Greeks believed in polytheism and made statues that they worshiped in honor of the gods. They thought that making wine was a gift from the gods. The ancient Greeks were pagans and associated all natural phenomena with divine influence. Winemaking was of great importance in the life of the Greeks; for example, the breakfast of the Greeks consisted of bread soaked in wine.

Statue of Dionysos leaning on a female figure, "Hope Dionysos" 27 B.C.–A.D. 68

Title: Statue of Dionysos leaning on a female figure ("Hope Dionysos"), 27 BC–68 AD (marble)

Artist: Roman Imperial Period (27 BC-476 AD)

Location: Metropolitan Museum of Art, New York, USA

Medium: marble

Date: 27 BC - 68 AD

Dimensions: 210.2 cms

https://www.metmuseum.org/art/collection/search/255973

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Title: Presentation Vase

Maker: Thomas Fletcher (American, Alstead, New Hampshire 1787–1866 New Jersey)
Maker: Sidney Gardiner (American, Mattituck, New York 1787–1827 Mexico)
Date: 1824

Geography: Made in Philadelphia, Pennsylvania, United States

Culture: American

Medium: Silver

Dimensions: Overall: 23 7/16 x 20 1/8 x 15 1/8 in. (59.5 x 51.1 x 38.4 cm); 410 oz. 5 dwt. (12760 g)
Lip: Diam. 12 3/4 in. (32.4 cm)
Cover: 5 5/8 x 12 3/4 in. (14.3 x 32.4 cm)
Thomas Fletcher's competition-winning design for these vases features a scheme of allegorical figures and American vistas along the route of the canal. On the front of this vase, the figures of Mercury (commerce) and Ceres (agriculture) flank a view of the canal's guard lock and basin at Albany; on the back, Hercules (strength) and Minerva (wisdom) are depicted with the aqueduct at Rochester and the falls of the Genesee River. On the front of its pair, figures representing Fame and History flank a view of the Mohawk River's Cohoes Falls; on the back, a female figure (plenty) and a Native American are depicted with the Little Falls of the Mohawk. The cover of each vase is surmounted by an American eagle finial.

The vases are marked by the partnership of Thomas Fletcher and Sidney Gardiner, who relocated from Boston to Philadelphia in 1811 in search of greater commercial success. Excellent entrepreneurs, they soon became the leading American supplier of presentation silver, as well as retailing a wide range of imported goods, such as brass, cutlery, and lighting fixtures. Fletcher and Gardiner are representative of the large urban firms that became increasingly common during the nineteenth century. I chose this vase because I love silverware. Silver is one of the most beautiful metals. For many peoples of the world, silver means purity, nobility, and the ability to purify evil spirits. In the Catholic and Orthodox religions, objects of religious worship are made from silver, such as crosses, bowls, and vases. In addition, silver can purify and disinfect water.

https://artgallery.yale.edu/collections/objects/36896

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Paintings from the Art Institute of Chicago

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Paintings from the Art Institute of Chicago

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Sometimes a picture can play with your memories and even help you remember your past, memories you will treasure for a lifetime.

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Artist's name: Attributed to the Varrese Painter, Greek; Apulia.

Title of artwork: Loutrophoros (Container for Bath Water)

Year it was created: 350 BCE–340 BCE

Material/Medium: Terracotta, decorated in the red-figure technique

This work of art tells us about the ancient history of the Greeks; the jug shows how the ancient Greeks were dressed and their way of life. Greek dresses in which the figures of people drawn on the jar are dressed attract with their simplicity and elegance. Two pieces of fabric sewn together with a slit for the head and a belt tied at the waist represent light tunic-like clothing. The event that the sculptor wanted to convey is the scene of the image of women preparing for the annual celebration of the feast of the god of wine, Dionysus. The classic shot of an ancient Greek woman draws the eye and, through this scene, draws a line of history stretching to the modern celebration of folk holidays. I singled out this work of art from the rest as an expression of beauty and perfection in art. A luxuriously decorated water vessel was intended for ritual washing before the wedding; they were also placed in the tombs of unmarried girls, which symbolized the union with the god of the underworld Hades. The jug depicts women who carry offerings and gifts; they demonstrate the cultural and social values ​​​​of that period of history with their outfits and hairstyles.

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Artist's name: Édouard Manet

Title of artwork: Beggar with Oysters (Philosopher)

Year it was created: 1860–1870

Material/Medium: Oil on canvas

In this picture, Manet presented a beggarly philosopher who eats oysters in the street and does not care or care how he surrounds himself with comfort. Manet portrayed the philosopher in the popular notion of the time as a social outcast who is shrewd but has no benefits from society. In the philosopher's image, there is a historical connection with the sages of antiquity, who also walked among people and spokewise thoughts, predicted future events, and did not pursue the goal of surrounding themselves with comfort. This work of art attracted me with the presentation of the material; skillfully rendered shadows on a dark background create a feeling of eternal being and an unresolved philosophical question. What will be left after you? Maybe art, philosophy, or your children. Being determines consciousness, and a poor philosopher who has nothing is freed by consciousness and can freely think and utter thoughts unburdened by everyday life.

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Artist's name: Claude Monet

Title of artwork: Cliff Walk at Pourville

Year it was created: 1882

Material/Medium: oil on canvas

The purpose of this work was simple and understandable for any person who loves rural landscapes. Frustrated by the area around the port city of Dieppe, Monet settled in the countryside of Pourville: this circumstance led to the birth of the painting. Claude Monet wanted to convey the scenery of a beautiful fishing area in Normandy in 1882. Picturesque surface, water combined with wisps of clouds in the sky, fluttering girls' dresses, and the Gulf waves conveyed a feeling of breeze, lightness, and freedom. The artist used texture and color to blend the female figures seamlessly into the painting without disturbing the scenic landscape. Monet uses short and curved brushstrokes and thus conveys the excitement of the sea, the movement from the wind of shawls, women's dresses, and grass. The emotions and beliefs that this picture gives rise to are to leave this land as beautiful as it is and preserve the ecology and balance in nature. Let people see the world as beautiful as this artist.

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The Dance Class. Edgar Degas. 1874. Oil on canvas

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This picture reflects hope and devotion to me. It shows ballet dancers being evaluated by a dance instructor while their mothers wait anxiously in the background. I get the feeling of hope from this painting because both the mothers and the dancers are hoping to get a good evaluation from the dance instructor. I might also think the dance evaluator is feeling hope that he will find some incredible talent amongst the crowd. There is also a sense of devotion in the painting because I just know that those dancers put in so much effort and time to get the level of talent desired. I think this painting attempts to unify us in the feeling that we all have something we are working towards and causes us to become anxious about. I chose this painting because the way the bright colors stick out against the whites, beiges, and browns. I think it was done purposefully by both Degas and the dancers so that it would be a way to intrigue the viewer. As I looked at this painting I realized that I relate to these dancers in a way. I relate to the anxiety they feel while they wait for their turn to show off. While I may not be a dancer, I do have my own events in life that definitely cause me a lot of anxiety while waiting for something to happen.

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Artist: Paulus Potter, Title: "Two Cows and a Young Bull beside a Fence in a Meadow," Year: 1647, Material/Medium: Oil on panel

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The artwork that I chose when relating to beauty is titled "Two Cows and a Young Bull beside a Fence in a Meadow" by Paulus Potter (Art Institute Chicago). However, what I find beautiful about this piece is its naturalistic approach and use of perspective. For instance, when viewing the background, the artist implements a three-point perspective, considering that the animals are smaller than what is above them. In addition, while the artist doesn't illustrate the left cow's expression, I feel that she's very stern—as the bull seems somewhat frightened by her presence. So, when describing the emotions that the artist tried to evoke, I would say that it's still very relaxed, given the lack of civilization and emphasis on nature. Also, I don't believe that there's a story going on, seeing how realistic and straightforward it is. Now, when discussing what made me choose this as opposed to the rest, was that there was something about it that instantly resonated with me. So, whether it was the blue sky itself or the young bull's expressive eyes, I just found everything appealing.

https://www.artic.edu/artworks/146953/two-cows-and-a-young-bull-beside-a-fence-in-a-meadow

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Artist: Martin Schongauer, Title: "Christ Carrying the Cross," Year: 1475-80, Material/Medium: Engraving

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2. Art for the Sake of Expression (Religious)

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2. Art for the Sake of Expression (Religious)

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The artwork that I chose for expression, which was religious, was "Christ Carrying the Cross" by Martin Schongauer (metmuseum.org). Yet, when detailing why I find this piece beautiful, I would say that it's due to its symmetrical balance and equal visual weight. For instance, the way I see it, the cross is not only supposed to signify the focal point—due to it being the largest—but for dividing both sides evenly. In addition, I think what makes this so unique is that while Jesus is the main subject, the artist is almost alluding to the idea that the crucifixion was just as significant as the individual involved in it. Thus, due to the figures in both the back and foreground, one might even miss Jesus at first glance. So, when describing its emotion, I'd say that it's sadness, as the event and image help support this feeling. Yet, I also feel like this image won't resonate with everyone, as it's dependent on one's level of religious beliefs. Regardless, I chose this because it reminded me of "Rhinocerus" by Albrecht Durer, which is the work that I selected for the M4 assignment. Both of them utilize implied texture through their use of lines. Also, when relating to this piece, I would say that due to growing up in a Catholic household, images like these were recurrent.

https://www.metmuseum.org/art/collection/search/336162?searchField=All&amp;sortBy=Relevance&amp;deptids=9&amp;high=on&amp;ao=on&amp;showOnly=openAccess&amp;ft=*&amp;offset=40&amp;rpp=40&amp;pos=49

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Artist: Charles White, Title: "Harvest Talk," Year: 1953, Material/Medium: Charcoal . . . laminate board (Art Institute Chicago). 

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As I selected artworks for their respective categories, I stumbled upon this one, which I found suitable for personal taste. So, to begin with, what attracted me to this piece was its use of light and dark values, which are supposed to signify gloomy weather. However, when detailing why I found this beautiful, it has to do with my preferences, as that's the type of climate I like. In addition, while this artwork is generally realistic, I'd also say that it's idealized, seeing how distorted the forearms are by comparison. Yet, despite this, I feel like this might've been intentional—to illustrate their strength from working in harsh conditions (Art Institute Chicago). Also, regarding the light streaks in the sky, according to "Introduction to Art: Design, Context, and Meaning," Rita Tekippe states, "When we see a color shift within a shape, this implies movement" (Tekippe 65). Thus, it's made clear to the viewer that these symbolize wind. Furthermore, when describing the emotion that it evokes, I would say that it's hopeful, considering the smiles on their faces, which might allude to them getting out of their situation. Therefore, I feel that many could relate to this—regardless of not ever working in a field, including myself.

https://www.artic.edu/artworks/111810/harvest-talk

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The Way They Live. Thomas Anshutz. 1879. Oil on canvas

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This painting shows an African American family working on a farm. Since it was painted in 1879, slavery had ended in the U.S. for several years, but that didn't mean African Americans were living an easier life. They faced constant hardships. This painting probably wasn't meant to unify people. I think this because it is titled 'The Way They Live". It isn't the way we live. I feel like it is separating white people and African Americans. I feel like I am in this painting when I look at it. That is what drew me to it. My personal opinions relate to this painting because I want to make sure treatment like this never happens again. It was a horrible time for minorities, and I think it is something we can always work on improving.

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Irises. Vincent Van Gogh. 1890. Oil on canvas.

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This painting is beautiful in my eyes because I love irises. They are so unique, and I think Van Gogh did an excellent job capturing that in this painting. I don't think this painting has a story or message behind it. But that doesn't take away from its beauty. I chose this painting over other art because irises are my mom's favorite flower. So seeing this made me think of my mom and all the positive memories associated with giving her irises.

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"The Pine Tree at Saint-Tropez" by Paul Signac, 1909, Oil on canvas

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This painting is beautiful due to its rich detail and Signac’s fusion of Pointillism and Impressionism. Pointillism is an art style where a painting is composed of multiple dots consisting of different colors. From afar, these dots fuse together to give the illusion that it's a traditional painting. Impressionism is characterized by visible brushstrokes and the theme of painting things and people the way the artist perceives them. Here we see the composition of tiny brushstrokes that come together to create the pine tree and its surroundings.

The painting depicts a simple scene that Signac does not alter to an extent where it becomes unrecognizable. It does express the emotion of being present. Everyday we do not stop and absorb the nature around us, let alone see the way branches depart from a tree’s trunk. I believe it serves to connect us to mother nature without telling a complicated story.

It stood out to me because of the way Signac used Pointillism alongside Impressionism. I did a high school research project on Georges Seurat who worked with Pointillism. I guess this piece sparks nostalgia and my desire to be present in life. When I see the tree, I am taken back by how much beauty I am missing when I am cooped up in the house or using my phone.

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"Will you have a part in victory?", James Montgomery Flagg, 1918, Lithograph.

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Art for the Sake of Expression (political)

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Art for the Sake of Expression (political)

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Flagg’s piece stands out to me because of his use of patriotism and political propaganda. Showing a woman wearing an American flag dress is a stark difference from other patriotic artwork. The piece expresses the belief that Americans should grow their own gardens to help win the war. This comes at a time when average Americans had to ration food to support the troops in both World Wars. Their crop production alleviated food shortages and gave more commercial crops to the troops. This concept is known as “victory gardens”. This piece encourages the belief of self-sufficiency and community action. Individuals would grow food for themselves and help out their troops at the same time.

I chose this piece because of its interesting history and my personal interest. I always dream of buying land and being as self-sufficient as possible. I recently noticed how reliant we are to farmers, corporations and governments for everyday life. That is not inherently wrong but if those people/institutions stop providing to us, we end up suffering greatly. I believe we should bring back the concept of victory gardens, but put more focus on connecting with nature and learning how food is grown.

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"Self-Portrait as a Tehuana (Diego on My Mind)", Frida Kahlo, 1943, Oil on masonite.

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The reason why this piece is beautiful is because it is ripe with floral patterns. At the same time it is haunting because its imagery can come off as disturbing. Frida paints herself with her husband Diego on her forehead and vines are spreading. This painting seems to express the emotion of love, but how it can trap us. Obsession and dependency can accompany love. It looks as though Frida has Diego occupying her mind, and the spreading vines can symbolize how this ‘love’ is overtaking her to the point of obsession. I believe it serves to warn us about how love can be a harmful thing if taken to the extreme.

This is one of those paintings that has more than meets the eyes. That is what drew me in. I was curious about the tattooed man on her forehead and the vines. A closer look helps you draw conclusions. I relate to this piece because I have been in a position where I perceived dependency and validation as love. That being said, I can imagine myself like Frida in the painting, being naive and mistaking something for love when it is not.

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“View of Cotopaxi” Frederic Edwin Church, 1857, Oil on canvas

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This particular painting stood out to me because of the beautiful scenery it portrays. I love the detail in the roaring waterfalls and the snow peaks of the mountains in the background. It just looks so serene and peaceful and invokes feelings of calmness. This photo embodies what comes to mind when someone says paradise. This painting also reminds me of Paradise Falls from the Disney movie, UP.

I chose this work among all of the others because it was the first work that truly jumped out at me sheerly based on its beauty. I saw some Korean art I thought would be a cool tattoo and some jars that I thought would make cool decorations, but none of them just stood out. When I saw this painting, I immediately clicked on it and knew I wanted to find out more about it, which did not happen to me when scrolling past any of the other works.

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“Seated Chief (Mwanangana) Playing Sanza” 19th century (before 1869), Chokwe artist (Angola), Wood (uapaca), cloth, fiber and beads

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This particular carving shows a seated chief playing a musical instrument. I believe the purpose of this artwork is to immortalize an important spearhead in the community. In tribal culture, the chief is highly valued and respected by the community. It makes sense that a chief would be the subject of artwork, since the chief is idolized by the rest of the group. This artwork was created to praise someone important.
I chose this work amongst others because the deep, cherry tone of the wood stood out to me. I also was admiring how smooth the finish on the wood was as well as the intricacy and preciseness with which each tiny detail was carved. Although it may not be the most intricate work I came across that fell into this particular category, it was the one that immediately piqued my interest because it was different from the typical religious idol statue.

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“Hanbok (Skirt and Jacket) 1950-1960, Artist unknown, Silk damask textiles

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The purpose of this artwork is to carry on a beautiful tradition rooted deep into Korean culture. A hanbok is traditional Korean clothes that are no long worn in every day life today, but are a huge source of pride for Korean people. Hanboks are often hand crafted and hand stitched, with hours and hours of painstaking work put into their production. I chose this particular work because I thought it would be unique to pick something more unconventionally artistic, such as clothing.
I chose this particular artwork because it reminds me of my childhood. I am adopted from Korea and growing up, it was important to my parents for me to learn about my culture. I owned various hanboks growing up and every time I put one on, I would be filled with a tremendous feeling of pride for my culture and background.

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artist: unknown Title: A Knight of the d'Aluye Family Date: after 1248–by 1267 Medium: Limestone

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1. The reason this artwork is amazing in my eyes is because of how well made the carving in the stone is. The amount of detail in it is truly amazing and the fact that it has remained in that well of condition is incredible.
2. I chose this among all others because the fact that it is a a knight who fought in the crusades which is amazing. I can relate to this artwork because I am European and I'm sure I have ancient ancestors who served in the crusades also.

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Artist: unknown Title: Statuette of the Goddess Taweret Date: 332–30 B.C. Medium: Glassy faience

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1. The purpose of this artwork is to express the ancient Egyptians belief of the Goddess Taweret. The Goddess represented the protection of pregnant women to the people of Egypt so it was important to mothers and pregnant women. The piece tells us how the way it looks was to scare away demons from the pregnant women and to protect them from harm and evil.
2. I chose this be cause of the story of the Goddess. It also has a very interesting color and how clean it looks.

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Artist: Grip attributed to Joseph Deutschmann  Title: Hunting Sword with Scabbard Date: ca. 1740 Medium: Steel, silver, ivory, wood, leather

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1. This artwork is beautiful in my eyes because it is a incredible piece of craftsmanship. The way that the artist carved into the bone and molded the gold is amazing.
2. I chose this artwork be cause it was made in Germany by a German.  I relate to the piece because I am German and it is always really incredible to see what people from your country have made in the past.

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1. John Singer Sargent
2. The Fountain, Villa Torlonia, Frascati, Italy
3. 1907
4.Oil/Canvas

1. This piece is beautiful in my eyes for the way Sargent made it so realistic, the first time i saw this i thought it was a photo until i looked closer. His use of texture and light is phenomenal, the movement of the water is very apparent which in my opinion is extremely difficult as water is such a dynamic object to capture, especially when you take into account this was made over time; Sargent was nit working with a still reference water is ever changing. I think it represent love and unity. Two friends one watching calmly enjoying the day and the other painting in the presence of her friend.

2. I chose this piece due to the extreme attention to detail. It reminds me heavily of a stone sculpture like 'The David', The way one makes stone or in this case paint look like soft cloth is so mind blowing. As well as the shadows on the railings in the background and the way the light differs in the trees as the light hits. I relate to this artwork for its attention to detail, i love shadows and classical style paintings. The more you look at the piece the more little additions pop out such as little plants growing within the concrete.

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1. Gustave Moreau
2. Hercules and the Lernaean Hydra
3. 1875-1876
4. Oil/Canvas

1. This art work tells a story of hercules, which is a figure in Hellenism. It features Hercules surrounded by fallen bodies around him, standing confidently ready to fight the hydra. I think it shows a strength in perseverance, despite the hydra having multiple heads he is not standing like he is defeated.

2. I chose this piece over the others because, respectfully, i think christianity majourity artwork isn't as interesting to me, due to the way it is depicted versus what christ actually should have looked like. Some works in hellenism do fall victim but there are many greek elements. I saw a few very amazing sculptures seen in many Indian cultures but this one stuck out to me as I am a Pagan. I relate to this artwork because Hellenism is a big part of my religion. It has important lessons within its stories. It is beautiful in my eyes from the colour scheme and the proportional aspect of the human body.

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1. Claude Monet
2. Arrival of the Normandy Train, Gare Saint-Lazare
3. 1877
4.Oil/Canvas

1. The aim of this artwork is to depict the train coming in as the sun is rising. In the morning we see more yellow and blue as the sun rises, while sunsets would be depicted with more warm reds and oranges. The steam from the train meets its cold environment resulting in plums of steam. People ready to take the train heading somewhere to start their mornings as light shines through the opening and the roof.

2. I chose this piece because I am a huge fan of Monet. When I went to art school I chose Monet's lily pads to recreate for a project. I love Monet's art style the short strokes of paint giving a grainy texture. Morning time is my favourite part of the day as well, gradual sun rise and the chilly morning air brings a large euphoric rush that I got while seeing this piece.

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Kawase Hasui; Matsue, Izumo, from the series Souvenirs of Travel, Third Series (Tabi miyage dai sanshū); 1924; Color woodblock print.

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I think there is no way to define a real "beauty" as it differs from each other's eye. To me, this artwork is beautiful because it gives me the feeling of peace and sorrow. A small town in Japan in a neutral evening is well presented. Besides, from technical view, the artwork is carefully painted. Although it is a woodblock print, which is supposed to be very rough, the details are shown clearly. The colors blend together making a graceful harmony from top to bottom with the reflection. Everything creates a pleasing sunset in the town. I think the reason why I picked the artwork was because I love the loneliness and the artwork with its sorrow caught my eyes.

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Winslow Homer; The Gulf Stream; 1899, reworked by 1906; Oil on canvas.

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The artwork was made by Homer after his journey across the Gulf Stream in Atlantic to the Bahamas in 1884 and 1898. He experienced the threaten of big waves and dangerous sharks. The artiest faced the death and struggling holding his faith. On top of that, the artist's father died right at the time. Because of all, Homer made the artwork to express his expression of mortality and vulnerability. When it comes to the expression, I thought of the struggles between human and nature, about the mortality. I did a bit of research then I found this artwork. It perfectly express what I wanted.

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Trompe-l'oeil Still Life with a Flower Garland and a Curtain by Adriaen van der Spelt and Frans van Mieris (curtain) (1658)    Medium: Oil on Panel

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I chose this piece to be under the art for beauty’s sake because of the colors and contrast as well as how the still life is painted. Going into detail, this piece is beautiful to me because of my interest in flowers and still life in general. This piece is also a great example of Trompe-l'oeil because I had to look close enough at the detail to make sure the piece was completed as a painting.  The overall purpose of this piece was to display floral varieties but the curtain is also meant to fool the viewer into believing something is there when there isn't.  I chose this among other floral artworks because of how different it appears to be, the whole piece isn't sticking to just one color palette or saturation but also the contrast of the bright blue stood out to me.

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Trompe-l'Oeil Still life with a Flower Garland and Curtain

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The Virgin of Guadalupe with the Four Apparitions by Nicolas Enriquez (1773)           Medium: Oil on Copper 

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Art for the sake of expression – religious 

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Art for the sake of expression – religious 

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The purpose of this artwork was to show the history of la Virgen de Guadalupe and how her image first appeared to an Indian/Indigenous man in Mexico.

I chose this piece to show because of how important the Virgin of Guadalupe is to Catholics or at least some Catholics in Mexico and other Latinos in Spanish-speaking countries. The history of the Virgin of Guadalupe is different depending on who you talk to, to many she is meant to be seen as a sacred figure to indigenous people during the Spanish colonization of Mexico/ the Americas.  I chose this among other pieces of Religious figures such as Jesus Christ or any other paintings because of the representation of her in my life. Every room in my house has either glass art or figurine or candle of the Virgin of Guadalupe. I also learned more and more about her in my Mexican-American History class which I believed was so important to have a closer connection to my religious belief.  Another thing that stood out to me was the shine of I think the copper being used to illuminate the figure of the Virgin of Guadalupe.

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Grapes, Lemons, Pears, and Apples by Vincent van Gogh (1887) Medium: Oil on Canvas    

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I chose this piece because it closely portrays my art style or rather my main subject. I enjoy drawing still-life art with fruits, and although I don't do paintings often, fruit art is the first thing my eyes go-to when it comes to any other still life. I chose this piece also because of the vibrant color palette and the variety of paint strokes used to create this piece. The strokes of paint from the background differ from the actual fruits which allows our eyes to focus on the fruit first. When looking at it in an unfocused sense the background looks like it's radiating. I would like to describe it as when you are driving on a hot day and if you look at the roads up ahead it looks sort of blurry but wavy… if that makes any sense.

I chose this out of the other scenery and floral artworks I looked at because of how realistic it is but also doesn't have everything blended out to have smooth edges. I tend to want everything to look smooth, I am still practicing to create texture in my artwork.

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Claude Monet; On the Bank of the Seine, Bennecourt; 1868; Oil on canvas.

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As I scroll through the artwork page on Artic, this artwork caught my eyes because of its fresh and peaceful vibe. As so, the painting doesn't really aim for anything, it's just the artist painting his future wife. It might a way that the artist used to promote the place where he and his future wife rowed. On the other hand, the use of colors with all the blue and green makes it to be a pleasant for the eyes. Nonetheless, I love the painting.

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Artist: unknown, Title :Buddha Shakyamuni Seated in Meditation (Dhyana mudra), Date:1101-1200, Medium: Granite

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This artwork was a representation of a religion that is still flourishing in the town that this piece comes from, Nagapattinam (Southern India). This artwork is a statue of the meditating Buddha. I relate to this artwork because despite not being Buddhist, it is a religion/philosophy that I am extremely interested in, and have read many books/teachings about. I think it is a religion/philosophy that can overall improve anyone's life, and it is thanks to the figure in the statue.

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Artist's name: Gustave Moreau, Title of artwork: Hercules and the Lernaean Hydra, Year it was created: 1875-1876, Material/Medium: Oil on Canvas

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The aim of this artwork was to combine the interests/passion of the artist who created this artwork, those interests being mythology, history, and exoticness. The artist intended to create this piece to represent his political concerns, of France's humiliating defeat to Prussia. Hercules is said to represent France, and the Lernaean Hydra is said to represent Prussia. I chose this artwork because mythology is something I love whether it is stories, history, or plots in movies. I love the overall concept, and Hercules happens to be one of my favorite figures in mythology. I think it's fascinating that the artist uses mythology to represent politics in his time period.

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Pablo Picasso, The Old Guitarist, 1903–1904, Oil on panel

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As I was scrolling through and looking for artwork that I would describe as art for beauty's sake, I wanted to choose something that would catch my attention because I thought it looked nice. This piece here did just that. What caught my eye was that it is a monochromatic pallet with a brown guitar. Using the blue pallet gave me a sense of beauty and emotions of what I read displays Picasso's struggles and sympathy.

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Marc Chagall, White Crucifixion, 1938, Oil on canvas

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This painting here has a mix of religious and political content. This one caught my attention because it isn't the common Christian Jesus I am used to seeing and there are also many more events displayed on it. From the description I read, Chagall made this because it is about the suffering Jewish people went through in Europe during the 1930's. The clash between religion and politics was also to represent the doing of Nazi's and Christ tormentors.

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Felix Gonzalez-Torres, "Untitled" (Portrait of Ross in L.A.), 1991, Candies individually wrapped in multicolor cellophane 

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My thought behind choosing this artwork came from thinking to myself "What am I interested in picking right now?" A lot of the times, the artwork that captures my eye at the moment comes from the emotion I feel during that time. I guess this time I was looking for something that isn't the common painting of religion, politics, etc. I chose this because I was looking for something that might be interactive. When I saw this, I clicked on it and read in the description that viewers were able to take a candy if they wanted to. I thought it was an interesting concept because this artwork will change every time someone decides to take a piece.

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Unknown, "Rosette Bearing the Names and Titles of Shah Jahan" , Folio from the Shah Jahan Album, ca.  1645, Ink, opaque watercolor, and gold on paper

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This piece is from the Shah Jahan Album called "Rosette Bearing the Names and Titles of Shah Jahan." It is worked in different gold tones, meticulous designs, and flowers, birds, and animals. I chose this artwork for the sake of beauty because I am fascinated by the intricate designs in this painting. The painting is of a flower symmetrically and intricately drawn around a circle. It is a semi-abstract painting that is illustrated in symmetry. It shows uniformity, complexity, and beauty in this artwork. This artwork is pleasing to me because of its aesthetics which makes it elegant. I would hang it around my house if I had something similar.

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Unknown, Qur'an Manuscript, A.H. 1268/A.D. 1851-52, Ink, Opaque watercolor, and gold on paper; leather binding

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Art for the Sake of Expression (Philosophical, Political, or Spiritual/Religious)

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Art for the Sake of Expression (Philosophical, Political, or Spiritual/Religious)

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This is a manuscript from Quran that is decorated with different colors with contrast, meticulous, and intricate designs, the letter is written in rounded forms and upright vertical strokes. This artwork is important for Muslims because the Arabic inscriptions come from the Quran, which holds importance in Islamic culture. It spread the belief of Islam and its beauty of it to its believers and non-believers. I would say that this artwork unifies Muslims due to the meaning of the inscription and it coming from the Quran. I think that non-Muslims might be attracted to this piece due to the design of the first two pages of the Quran. I chose this artwork because The inscriptions in the Quran are very important for me and my family, along with the captivating design around it. I can relate to this artwork because I am a Muslim, and I recite the Quran almost every day.

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Thomas Cole, Distant View of Niagra Falls, 1830, Oil on canvas.
What makes this artwork beautiful in my eyes because of how well it captures the beauty and majesty of the wilderness while telling a small story. It seems to be late in the day while two figures stand on a small outcropping to admire the same beauty of Niagara falls as the viewer of the painting does. I chose this artwork among all others because I love landscape artwork and this one is a very cool depiction of a specific time and place in Niagara's history. I relate to this artwork because the figures in it appreciate nature's beauty as much as I do.

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Show this image

Distant View of Niagara Falls

Date:

1830

Artist:

Thomas Cole (American, born England, 1801-1848)

About this artwork

Thomas Cole visited Niagara Falls in May 1829, composing this romanticized, autumnal scene the following year. Portraying the grandeur of the American landscape, the artist omitted the factories, scenic overlooks, and hotels that populated the area in the early 19th century. Cole expressed concern about the environmental impact of voracious industrialism, but at the same time his painting erased the human devastation wrought by colonialism and conquest in the region, which encompassed Attiwonderonk, Haudenosaunee, and Wenrohronon lands. The two Native American figures at center, combined with the falls, identify the setting as North America, but their diminished presence in scale and number reinforces the false idea of the "vanishing Indian" and is meant to signal impending transformation rather than acknowledge their stolen sovereignty.

Status

Currently Off View

Department

Arts of the Americas

Artist

Thomas Cole

Title

Distant View of Niagara Falls

Place

Niagara Falls (Place depicted)

1830

Medium

Oil on panel

Inscriptions

Signed, lower right: "Thomas Cole / 1830"

Dimensions

47.9 × 60.6 cm (18 7/8 × 23 7/8 in.)

Credit Line

Friends of American Art Collection

Reference Number

1946.396

IIIF Manifest

https://api.artic.edu/api/v1/artworks/90048/manifest.json

Extended information about this artwork

Julia D. Sophronia Snow, "Delineators of the Adams-Jackson American Views," Antiques (November 1936): 214-19.

Louis Legrand Noble, The Life and Works of Thomas Cole (Belknap Press, 1964).

Howard S. Merritt, "A Wild Scene, Genesis of a Painting: Appendix I: Correspondence between Thomas Cole and Robert Gilmor, Jr." Baltimore Museum of Art Annual 2 (1967): 41-81.

Henry H. Glassie, "Thomas Cole and Niagara Falls," New-York Historical Quarterly 58, 2 (April 1974): 89-111.

"Reevaluation of a Thomas Cole Painting," Museum Studies 8 (1973): 96-108.

Matthew Baigell, Thomas Cole (Watson-Guptill Publications, 1981).

J. Bard McNulty, ed., The Correspondence of Thomas Cole and Daniel Wadsworth (Hartford: Connecticut Historical Society, 1983).

Elizabeth McKinsey, Niagara Falls: Icon of the American Sublime (Cambridge: Cambridge University Press, 1985).

Ellwood Parry III, The Art of Thomas Cole: Ambition and Imagination (Newark, DE: University of Delaware Press, 1988).

Earl A. Powell, Thomas Cole (New York: Harry N. Abrams Publishers, 1990).

Angela Miller, The Empire of the Eye (Ithaca, NY: Cornell University Press, 1993).

Thomas Cole: Drawn to Nature, exh. cat., (Albany: Albany Institute of History and Art, 1993).

William H. Truettner and Alan Wallach, eds., Thomas Cole: Landscape into History (Washington, DC: National Museum of American Art, Smithsonian Institution, 1994), ill.

Judith A. Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Chicago: Art Institute of Chicago, 1998).

Stephanie Pratt et al., "George Catlin: American Indian Portraits," exh. cat. (Washington, DC: National Portrait Gallery/National Portrait Gallery Company, 2013).

Rachel Bohan, "Jacob Kassay: No Goal," (The Power Station/Dallas, 2014), (ill.).

Paintings at the Art Institute of Chicago, Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017), 50.

Milwaukee Art Institute, Nineteenth Century American Masters, Feb. 20-Mar. 28, 1948, cat. 12.

Hartford, Wadsworth Atheneum, Thomas Cole 1801-1848: One Hundred Years Later, Nov. 12, 1948-Jan. 2, 1949, cat. 155, as Niagara Falls; New York City, Whitney Museum of American Art, Jan. 8-30, 1949.

Arts Club of Chicago, The American Landscape, Nov. 14-Dec. 29, 1973, cat. 4.

Washington, DC, Corcoran Gallery of Art, Niagara: Two Centuries of Changing Attitudes, 1697-1901, Sept. 21-Nov. 24, 1985; Buffalo, NY, Knox Art Gallery, July 13-Sept. 1, 1985; Corcoran Gallery of Art, New-York Historical Society, Jan. 22-Apr. 27, 1986.

Art Institute of Chicago, Window on the West: Chicago and the Art of the New Frontier, 1890-1940, June 28-Oct. 13, 2003.

New York, The Metropolitan Museum of Art, Thomas Cole's Journey: Atlantic Crossings, Jan. 30-May 13, 2018, cat. 19 ; London, The National Gallery, June 11-Oct. 7, 2018.

Frank Sabin, London, by 1936; M. Knoedler, London, 1937; Mrs. Edith Mendelssohn-Bartholdy, London, by 1946; to the Art Institute of Chicago, 1946.

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Distant View of Niagara Falls | The Art Institute of Chicago

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Salvador Dali, Venus de Milo with Drawers, 1936, painted plaster with mink pompons.

The purpose of this artwork is to make absurd of the very serious, which I find very amusing. The juxtaposition of drawers on a classic sculpture is very funny to me. I chose this artwork among all others because it reflects a personal belief that even when things are very serious business that it's important to see the absurdity of the seriousness when seen from a different perspective.

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Venus de Milo with Drawers

Date:

1936

Artist:

Salvador Dalí
Spanish, 1904-1989

About this artwork

Among Salvador Dalí's many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 /120 BC; Musée du Louvre, Paris), altered with pompon-decorated drawers in the figure's forehead, breasts, stomach, abdomen, and left knee. The combination of cool painted plaster and silky mink tufts illustrates the Surrealist interest in uniting different elements to spark a new reality. For the Surrealists, the best means of provoking this revolution of consciousness was a special kind of sculpture that, as Dalí explained in a 1931 essay, was "absolutely useless ... and created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character." Dalí's essay, which drew upon the ideas of Marcel Duchamp's readymades, inaugurated object making as an integral part of Surrealist activities.

Influenced by the work of Sigmund Freud, Dalì envisioned the idea of a cabinet transformed into a female figure, which he called an "anthropomorphic cabinet." Venus de Milo with Drawers is the culmination of his explorations into the deep, psychological mysteries of sexual desire, which are symbolized in the figure of the ancient goddess of love.

Status

On View, Gallery 396

Department

Modern Art

Artist

Salvador Dalí

Title

Venus de Milo with Drawers

Origin

Spain

Date

Made 1936

Medium

Painted plaster with metal pulls and mink pompons

Dimensions

98 × 32.5 × 34 cm (38 5/8 × 12 3/4 × 13 3/8 in.)

Credit Line

Through prior gift of Mrs. Gilbert W. Chapman

Reference Number

2005.424

Copyright

© Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2018

Extended information about this artwork

Publication History

Robert Descharnes, The World of Salvador Dali (New York: 1962), p. 167.

Robert Descharnes, Dalí de Gala, Edita, Lausanne, 1962, pp. 164-165, 223 (ill.).

"Dalí presentará una gran exposición en Tokio," Voluntad (May 8, 1964), p. 2.

Robert Descharnes and Clovis Prévost, La Vision artistique et religieuse de Gaudí (Lausanne: Edita, 1969), p. [8].

Carlton Lake, In Quest of Dali (New York: Putnam, New York, 1969), pp. 72-74.

G. A. Cevasco, Salvador Dalí: Master of Surrealism and Modern Art (Charlotteville, NY: Story House, 1971), p. 19.

Salvador Dalí and André Parinaud, Comment on devient Dalí (Paris: Robert Laffont, 1973), pp. 79, 223, 358.

Robert Descharnes, Salvador Dalí (Paris: Nouvelles Editions Françaises, 1973), p. [160] (ill.).

Salvador Dali, exh. cat. (Frankfurt am Main: Städtische Galerie und Städelsches Kunstinstitut, 1974), p. 30 (ill.).

Robert Descharnes, Salvador Dalí (Köln: M. DuMont Schauberg, 1974), p. [160] (ill.).

Robert Descharnes, "Los Dalí del Museo Dalí", Gaceta Ilustrada, año XIX, no. 941 (October 20-26, 1974), p. 59.

Tadao Ogura, Salvador Dalí, and Robert Descharnes, Dali ([Tokyo]: [Shueisha], 1974), pp. [51],108, fig. 38, (ill.)

Le Surréalisme (Paris: XXe siècle, 1975), p. [63].

William S. Rubin, Art dada et surréaliste (Paris: Seghers, [1976]), p. 249.

William Wilson, "Art review: Fun and Games in La Jolla", Los Angeles Times (May 30, 1977), p. [G1], (ill.).

L'Objet Surréaliste 1931 - 1937 (Paris: Galerie du Dragon, 1979), pp. [10-11], [30] (ill.).

Hommage à Dalí (Paris: Vilo, 1980), p. 140.

Homage to Dalí (Secaucus, NJ: Chartwell Books,[1980], p. 140.

"El escandalo de la 'Expo-Dali,'" Mujer (Lima), no. 46 (January 1980), p. 42, ill.

El Surrealismo (Madrid: Taurus, 1982), p. 72.

400 obras de Salvador Dalí de 1914 a 1983 ([Madrid]: Obra Cultural de la Caixa de Pensions, 1983), p. 108.

Robert Descharnes, Dalí, l'oeuvre et l'homme (Lausanne: Edita, 1984), pp. 199, 446 (ill.).

Robert Descharnes, Dalí, sein Werk, sein Leben: die Eroberung, des Irrationalen (Köln: Dumont, 1984), pp. 199, 455 (ill.).

Robert Descharnes, Dalí, the Work, the Man: 1934-1944 (S.l.]: Kodansha, 1984), p. 199 (ill.).

Robert Descharnes, Dalí: la obra y el hombre (Barcelona: Tusquets, 1984), pp. 199, 446 (ill.).

Pierre Ajame, La Double vie de Salvador Dali (Paris: Ramsay, 1984), p. 94.

Robert Descharnes, Salvador Dalí (London: Thames and Hudson, 1988, p. 122 (ill.).

Robert Descharnes, Salvador Dalí: The Work, the Man (New York: Henry N. Abrams, 1989), pp. 199, 451, (ill.).

Carlton Lake, In Quest of Dali (New York: Paragon House, 1990), pp. 72-74.

Paul Mariah, Salvador Dalí, Dances with Dalí / Minotaur 25/26, Minotaur Press, Felton, CA, 1991, p. 26

Franco Passioni, "Dalí dans la troisième dimension," Salvador Dalí: Illustrateur et Sculpteur, exh. cat. (Geneva, 1992), p. 93.

Robert Descharnes and Gilles Néret, Salvador Dalí, 1904-1989, vol. I: Das malerische Werk, (Cologne, 1993), p. 279, no. 628 (ill.).

André Bouguenec, Salvador Dalí: philosophe et esotériste incompris (Nantes: Opéra, 1994), pp. 28-29, (ill.).

Marco Di Capua, Dalí, (Paris: Librairie Gründ, 1994), pp. 187, 271, (ill.).

Gilles Néret, Salvador Dalí: 1904-1989 ([Köln]: Evergreen (Benedikt Taschen), 1996), pp. 44-45, 95, (ill.).

Haim Finkelstein, Salvador Dalí's Art and Writing, 1927-1942: The Metamorphoses of Narcissus (Cambridge, Mass.: Cambridge University Press, 1996, pp. 167, 226.

Gilles Néret, Salvador Dalí: 1904-1989 (Köln: Taschen, 1999), pp. 44-45, 95, (ill.).

Robert Descharnes, "Dalì, la Vénus de Milo, et la persistence de la mémoire antique," D'après l'antique (Paris: Musée du Louvre, 2000), pp. 462-65 (ill.).

William Jeffett, "An Obscure Object of Desire: The Venus de Milo, Surrealism and Beyond," A Disarming Beauty: The Venus de Milo in 20th-Century Art (St. Petersburg, Florida, 2001), pp. 61-67, 83, fig. 29.

Lewis Kachur, Displaying the Marvelous: Marcel Duchamp, Salvador Dalí, and Surrealist Exhibition Installations (Cambridge, Mass.: The MIT Press, 2001, p. 130.

Jennifer Mundy, ed., Surrealism: Desire Unbound (Princeton, New Jersey, 2001), p. 97, 329 (ill.).

Llorenç Bonet, Cristina Montes, et al., Antoni Gaudí Salvador Dalí (Barcelona: Loft, 2002), p. 84, (ill.).

El Surrealismo y sus imágenes ([Madrid]: Fundación Cultural Mapfre Vida), 2002, p. 202.

Salvador Dalí, Obra completa: Textos autobiogràfics 2 (Barcelona, [Figueres]: Destino, Fundació Gala-Salvador Dalí, 2003), pp. 356, 545.

Robert Descharnes and Nicolas Descharnes, Dalí: le dur et le mou, sortilège et magie des formes, sculptures et objets ([Azay le Rideau]: Eccart, 2003, pp. 32-33, (ill.).

Ricard Mas Peinado, Univers Dalí (Barcelona, Madrid: Lunwerg, 2003), pp. 230, 315.

Marco Di Capua, Salvador Dalí: su vida, su obra (Barcelona: Carroggio, 2003), pp. 187, 271, (ill.).

Dalí, exh. cat. (New York: Rizzoli, 2005), pp.258-59, no. 156 (ill.).

Salvador Dalí, Obra completa: Assaigs 1 (Barcelona, [Figueres]: Destino, Fundació Gala-Salvador Dalí, 2005), p. 806

Charles Stuckey, "Dalì in Duchamp-Land," Art In America (May 2005), pp. 153-54, (ill.).

Salvador Dalí, Obra completa: Entrevistes (Barcelona, [Figueres]: Destino, Fundació Gala-Salvador Dalí, 2006), p. 838.

Stephanie D'Alessandro, "Venus de Milo with Drawers," Art Institute of Chicago Museum Studies 32, no. 1 (2006), pp. 64-65, (ill.), pp. 95-96.

Salvador Dalí: An Illustrated life (London, [Figueres], [Madrid]: Tate Publishing, Fundació Gala-Salvador Dalí, Sociedad Estatal de Conmemoraciones Culturales - Ministerio de Cultura, 2007), p. 110.

Guillermo Carnero, Salvador Dalí y otros estudios sobre arte y vanguardia ([València]: Institució Alfons el Magnànim - Diputació de València, 2007), p. 43.

L'Objecte català a la llum del surrealisme (Barcelona: Museu Nacional d'Art de Catalunya, 2007), p. 69.

Pilar Parcerisas, Duchamp en España: las claves ocultas de sus estancias en Cadaqués (Madrid: Siruela, 2009), p. 32.

Anthony Grafton, Glenn W. Most, and Salvatore Settis, eds., The Classical Tradition (Cambridge, Mass. and London: The Belknap Press of Harvard University Press, 2010), fig. 163.

James D. Herbert, "New Wine in Old Bottles: French Art Following World War I," Chaos & Classicism: Art in France, Italy, and Germany, 1918-1936, exh. cat. (New York: Solomon R. Guggenheim Foundation, 2010), p. 142, (ill.), p. 143.

Dalia Judovitz, Drawing on Art: Duchamp and Company (Minneapolis: University of Minnesota Press, 2010), pp. 161-163, (ill.), p. 164.

Michel Squire, The Art of the Body: Antiquity and Its Legacy, University Press, Oxford, New York, 2011, pp. 27-28, (ill.).

John Yau, Marjorie Strider, exh. cat. (New York: Hollis Taggart Galleries, 2011), p. 33, (ill.).

Becky E. Conekin, Lee Miller in Fashion (London: Thames & Hudson, 2013), p. 164.

Stephen Fuller, Eudora Welty and Surrealism (Jackson, MS: University Press of Mississippi, 2013), pp. 53, 249.

Patricia Volk, Shocked: My Mother, Schiaparelli, and Me (New York: Alfred A. Knopf, 2013), pp. 77, [82], 280, (ill.).

Jane Munro, Silent Partners : Artist and Mannequin from Function to Fetish (Cambridge, New Haven and London: Fitzwilliam Museum, Yale University Press, 2014), pp. 210-211, (ill.).

Johannes Siapkas, Lena Sjögren, Displaying the Ideals of Antiquity: The Petrified Gaze (New York: Routledge, 2014), p. 138.

Exhibition History

Possibly Paris, 101 bis rue de la Tombe-Issoire, June 19, 1936.

Possibly Paris, 88 rue de l'Université, Feb. 1939.

Possibly New York, Julien Levy Gallery, Salvador Dali, 1939.

Paris, Galerie du Dragon, L'Objet surréaliste, 1931-1937, Oct. 20-Dec. 20 1979, cat. 10.

Paris, Musée du Louvre, D'après l'antique, Oct. 16, 2000-Jan. 15, 2001, cat. 259.

St. Petersburg, Florida, The Salvador Dalí Museum, A Disarming Beauty: The Venus de Milo in 20th-Century Art, Apr. 28-Sep. 9, 2001, fig. 29.

London, Tate Modern, Surrealism: Desire Unbound, Sep. 20, 2001-Jan. 1, 2002; traveled to: New York, Metropolitan Museum of Art, Feb. 6-May 12, 2002, fig. 72.

Venice, Palazzo Grassi, Dalí, Sep. 12, 2004-Jan. 16, 2005; traveled to: Philadelphia Museum of Art, Feb. 16-May 15, 2005, cat. 156 (ill.).

Provenance

The artist; sold to Max Clarac-Sérou, Paris, c. 1964; sold to Patrick Derom, Brussels, c. 1990; sold to the Art Institute of Chicago, 2005.

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Venus de Milo with Drawers | The Art Institute of Chicago

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Show this image Venus de Milo with Drawers 1936 Salvador DalíSpanish, 1904-1989 Among Salvador Dalí's many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 /120 BC; Musée du Louvre, Paris), altered with pompon-decorated drawers in the figure's forehead, breasts, stomach, abdomen, and left knee.

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Anthony Rasch, Sauceboat, 1815, silver
The purpose of this piece is to make elegant the mundane. A simple sauceboat turned into something that is almost gaudy with its snake handle and regal ram tip make for either an interesting ornamental piece or practical sauceboat. I chose this among all others for this category because I can appreciate the elevation of a simple sauceboat into something very visually striking and I really like silver as a medium because of its visual qualities.

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Anthony Rasch | Sauceboat | American | The Metropolitan Museum of Art

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Unknown, Lantern for a Lamp, 9th-10th Century, Earthenware; carved decoration unglazed

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It is an unglazed lantern with an abstract pattern of pierced lines that creates cast shadows when the lit lamp is inside. I do not think there was a specific meaning behind this artwork, other than its use in daily life in the 10th century. I chose this piece of artwork because I like simple and historical artifacts that might have been used daily in the past. For me, this artwork holds meaning because of childhood memories that I have with something similar. When I was younger, living in Pakistan, whenever the lights went out we would light a lamp of a similar kind, and create hand shadows to entertain myself and my sibling. Everyone might connect with this art piece differently because the way of connecting with artwork differs from person to person. I think people with a similar emotional connection to the art piece might unify together. There is no specific story that this artwork tells.

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Portrait of a Girl with Mimosa Blossoms by Charles Amable Lenoir, 1901 oil on canvas

This artwork caught my eye because of the ethereal feel that the artist  executed. The artwork is focused on the aesthetics of the subject which give off a calm and gentle aura. Based off the artist's usual subjects which are portraits of women shows how he sees women as calm, fragile, and elegant.

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Ecce Homo by Caravaggio, 1605 oil on canvas

This artwork by Caravaggio depicts the people mocking Jesus Christ. In this piece Pontius Pilate presents Christ to the people. This resonates with me as a Christian, I always remember the story of when Christ was mocked and persecuted by almost all of the people except for the disciples, Mary, and the prisoner. As Easter comes, I celebrate the resurrection of Jesus Christ and acknowledge His presence.

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American Gothic | The Art Institute of Chicago

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Artist's name:Grant Wood

Title of artwork:American Gothic

Year it was created:1930

Material/Medium:Oil on Beaver Board

The two protagonists in this painting have appeared in my last semester's video on the concept of comparative advantage in macroeconomics.  This research let me know that this is “American Gothic”by Grant Wood.  It also made me interested in the spirit conveyed by this painting, which is why I chose this painting.  First, in 1930 the United States was in the midst of the Great Depression.  Wood coined "American Gothic'' as an affirming statement of traditional American values: a reassuring move, just as it was when the Great Depression began.  Living in their sturdy, timber-framed homes, the two people possessed grit, perseverance and pride, representing those most likely to overcome the hardships of the 1930s.  Wood's ethos of values ​​is mentioned throughout the painting.  For example, the men's pitchforks and work clothes represent manual labor, while the women's colonial printed aprons symbolize 19th-century America.  The flowers and plants on the porch represent livestock raising and small-scale farming.  The couple's expressions were even more conflicted.  They seem to imply a prosaic life, perhaps brought about by a handful of biblical sermons.  Wood is simply highlighting the serious hardships faced by rural residents in the late 1920s and early 1930s.  In other respects, the painting was rigorously planned.  Many of these details are worth exploring, for example, the intricate matrix of vertical and horizontal lines printed and juxtaposed with the crescent shape on the top of the apron for women, the circular shape of the trees and the pattern on the apron, and the circular spectacles and vest for men with buttons.  Additionally, the prongs of the pitchfork echo the window bars of the farmhouse and the seams of the farmer’s overalls.

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American Gothic

Date:

1930

Artist:

Grant Wood
American, 1891-1942

Related

Related

About this artwork

In American Gothic, Grant Wood directly evoked images of an earlier generation by featuring a farmer and his daughter posed stiffly and dressed as if they were, as the artist put it, "tintypes from my old family album." They stand outside of their home, built in an 1880s style known as Carpenter Gothic. Wood had seen a similar farmhouse during a visit to Eldon, Iowa.

When it was exhibited at the Art Institute in 1930, the painting became an instant sensation, its ambiguity prompting viewers to speculate about the figures and their story. Many understood the work to be a satirical comment on midwesterners out of step with a modernizing world. Yet Wood intended it to convey a positive image of rural American values, offering a vision of reassurance at the beginning of the Great Depression.

Status

On View, Gallery 263

Department

Arts of the Americas

Artist

Grant Wood

Title

American Gothic

Place

United States (Artist's nationality:)

1930

Medium

Oil on Beaver Board

Inscriptions

Signed and dated lower right on overalls: GRANT / WOOD / 1930

Dimensions

78 × 65.3 cm (30 3/4 × 25 3/4 in.)

Credit Line

Friends of American Art Collection

Reference Number

1930.934

Extended information about this artwork

"Prize Awards in the Annual American Exhibition," Bulletin of the Art Institute of Chicago 24, no. 9 (Dec. 1930): 120.

Bulletin of the Art Institute of Chicago 25, no. 2 (Feb. 1931): cover (ill.), 8, 25.

"Loans to Other Museums and Institutions," Bulletin of the Art Institute of Chicago: Report for the Year 1931, 26 no. 2 (Feb. 1932): 70.

"Loans to Other Museums and Institutions," Bulletin of the Art Institute of Chicago: Report for the Year 1933 28, no. 3 (Mar. 1934): 71, 73.

"Loans to Other Museums and Institutions," Bulletin of the Art Institute of Chicago: Report for the Year 1934 29, no. 3 (Mar. 1935): 72.

"Loans to Other Museums and Institutions," Bulletin of the Art Institute of Chicago: Report for the Year 1935 30, no. 3 (Mar. 1936): 68.

Frederick A. Sweet, "Half a Century of American Art," Bulletin of the Art Institute of Chicago 33, no. 6 (No 1939): 97.

Anita Brenner, "Is There An American Art?," The New York Times Magazine (November 23, 1941), ill. p. 13.

Frederick S. Wight, Milestones of American Painting in Our Century, introduction by Lloyd Goodrich (Boston: The Institute of Contemporary Art with Chanticleer Press, New York, 1949), 30, 74, ill. pl. 21, 75.

Aline B. Louchheim, "A New Yorker Visits the Art Institute," The Art Institute of Chicago Quarterly 46, no. 2 (Apr. 1, 1952): 23.

"People and Events: Portraits on Television," The Art Institute of Chicago Quarterly 50, no. 2 (Apr. 1, 1956): 39.

Henri Dorra, The American Muse (Viking Press, 1961), 124, ill. p. 156.

"Summer Gallery Talks," Calendar of the Art Institute of Chicago 65, no. 3 (May-Aug. 1971): 18.

"Lecturer's Choice: Fifteen Minute Gallery Talks for Summer," Bulletin of the Art Institute of Chicago 67, no. 3 (May-June 1973): 11.

Matthew Baigell, The American Scene: American Painting of the 1930s (Praeger Publishers, 1974), 18, 109, 110, 111, ill. 1, 12.

"Public Lectures," Bulletin of the Art Institute of Chicago 69, no. 4 (Jul-Aug. 1975): 8.

"Public Lectures," Bulletin of the Art Institute of Chicago 73, no. 5/6 (Sep-Dec. 1979): 14.

Wanda Corn, "The painting that became a symbol of a nation's spirit," Smithsonian 11, 8 (November 1980), 84-96, ill. p. 85.

Wanda M. Corn, Grant Wood: The Regionalist Vision, exh. cat. (Minneapolis Institute of Arts/Yale University Press, 1982), 3, 25-26, 33, 35, 60, 128-142, pl. 32.

Wanda M. Corn, "The Birth of a National Icon: Grant Wood's American Gothic," The Art Institute of Chicago Centennial Lectures, Museum Studies 10 (Art Institute of Chicago/Contemporary Books, Inc., 1983), 253-275, fig. 1.

Davenport Museum of Art, IA, Grant Wood: An American Master Revealed (Davenport Museum of Art/Pomegranate Books, 1995), 24, 69-73, 96-98, cat. 16, pl. 16.

Art Institute of Chicago, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture, selected by James N. Wood and Teri J. Edelstein (Art Institute of Chicago, 1996), 67, ill.

James M. Dennis, Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry (University of Wisconsin Press, 1998), 14, 19-20, 100-02, fig. 7.

Lea Rosson DeLong, Grant Wood's Main Street: Art, Literature and the American Midwest, exh. cat. (Ames, Iowa: Brunnier Art Museum, University Museums, 2004), 17-18, 24, 27-29, 39, 97, 104, 106, 159, 203, 205, 207, fig. 12.

Thomas Hoving, American Gothic: The Biography of Grant Wood's American Masterpiece (Chamberlain Bros., 2005).

Stephen Biel, American Gothic: A Life of America's Most Famous Painting (W.W. Norton & Co., 2005).

Sue Taylor, "Grant Wood's Family Album," American Art 19, 2 (Summer 2005): 48-67.

Judith A. Barter et al., American Modernism at the Art Institute of Chicago, From World War I to 1955, (Chicago: Art Institute of Chicago/Yale University Press, 2009), cat. 79.

Laura Hoptman, "Wyeth: Christina's World," One on One (The Museum of Modern Art, 2012), 4 (ill.).

Duane Preble Emeritus et al., Prebles' Artforms (Pearson, 2013), 11th ed., 428. (ill.).

Chantal Georgel, "Millet," (Citadelles et Mazenod, 2014), (ill.).

Paintings at the Art Institute of Chicago: Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017), 123.

Judith A. Barter, "Prolog: Ein neue Welt der Kunst," in Es war einmal in Amerika - 300 Jahre US-amerikanische Kunst [Once Upon a Time in America: Three Centuries of American Art], eds. Barbara Schaefer and Anita Hachmann (Cologne: Wallraf-Richartz-Museum & Fondation Corboud/Wienand Verlag, 2018), 24, fig. 10 (ill.).

Andrew Graham-Dixon, "'American Gothic' - Grant Wood's Midwestern mystery," Christie's, Oct. 22, 2019, https://www.christies.com/features/American-Gothic-A-Midwestern-mystery-10143-1.aspx, (ill.).

Marta Ruiz del Arbol, ed., Georgia O'Keeffe, exh. cat. (Madrid: Museo Nacional Thyssen-Bornemisza, 2021), 66-67, fig. 45 (ill).

Sarah Rose Sharp, "How Grant Wood's 'American Gothic' Continues to Inspire Artists," Hyperallergic, Mar. 30, 2022, https://hyperallergic.com/719745/how-grant-woods-american-gothic-continues-to-inspire-artists, (ill.).

Art Institute of Chicago, The Forty-third Annual Exhibition of American Paintings and Sculpture, Oct. 30-Dec. 14, 1930, cat. 207, ill.

Cedar Rapids, IA, Feb. 1931.

Buffalo Fine Arts Academy, Albright Art Gallery, Twenty-Fifth Annual Exhibition of Selected Paintings by American Artists, Apr. 26-June 22, 1931, cat. 139, ill. p. 26.

San Diego Fine Art Gallery, Show of Contemporary Eastern Painting [probably], c. June 1932, no cat.; Santa Barbara, CA, Faulkner Memorial Art Gallery, c. Aug. 1932.

New York, Whitney Museum of American Art, Paintings and Prints by Chicago Artists, Feb. 28-Mar. 30, 1933, cat. 37, ill. frontispiece.

Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-Nov. 1, 1933, cat. 666, pl. 92.

Washington, DC, Phillips Collection, Nov. 1933-Feb. 1934.

Philadelphia, Pennsylvania Museum of Art, Mar. 31-Apr. 10, 1934.

Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-Nov. 1, 1934, cat. 716.

Chicago, Lakeside Press Galleries, Loan Exhibition of Drawings and Paintings by Grant Wood, Feb-Mar. 1935, cat. 33, ill. p. 23.

New York, Ferargil Galleries, An Exhibition of Paintings and Drawings by Grant Wood, Mar-Apr. 1935, cat. 15.

Kansas City, MO, William R. Nelson Gallery, Oct. 2-Nov. 8, 1935.

Dallas Museum of Fine Arts, The Centennial Exposition, June 6-Nov. 29, 1936, cat. 15, ill. p. 64.

Chicago Woman's Club, Jan. 20, 1937.

Bloomington, IL, Central Illinois Art Exposition, Mar. 19-Apr. 8, 1939, cat. 106, ill. p. 29.

Iowa City, Fine Arts Festival, Iowa Union Lounge, University of Iowa, Exhibition of Paintings by Grant Wood and Marvin D. Cone, July 16-23, 1939, cat. 23.

Art Institute of Chicago, Half a Century of American Art, Nov. 16, 1939-Jan. 7, 1940, cat. 178, pl. 46.

Bloomfield Hills, MI, Cranbrook Academy of Art, May 17-June 6, 1940.

Northampton, MA, Smith College Museum of Art, American Art: Aspects of American Painting, 1900-1940, June 12-22, 1940, cat. 33.

Worcester Art Museum, A Decade of American Painting 1930-1940, Feb. 18-Mar. 22, 1942, ill. p. 23.

Cedar Rapids Art Association, Grant Wood Memorial Exhibition, Sept. 1-Oct. 1, 1942, no cat. See Cedar Rapids Gazette, 9/6/1942.

Art Institute of Chicago, Memorial Exhibition of Paintings and Drawings by Grant Wood, included in the Fifty-third Annual Exhibition of American Paintings and Sculpture, Oct. 29-Dec. 12, 1942, cat. 2, color ill. frontispiece.

New York, Museum of Modern Art, 20th Century Portraits, Dec. 8, 1942-Jan. 24, 1943, p. 145, ill. p. 99.

Baltimore, MD, Feb. 12-Mar. 7, 1943.

Worcester Art Museum, Mar. 17-Apr. 19, 1943.

Boston, The Institute of Modern Art, Ten Americans, Oct. 20-Nov. 21, 1943, cat. 29, ill.

Saginaw, MI, Saginaw Museum of Art, An Exhibition of American Painting from Colonial Times until Today, Jan. 10-Feb. 15, 1948, cat. 71, pl. 13.

Dallas Museum of Fine Arts, Famous American Paintings, Oct. 9-31, 1948, n.pag., ill.

Boston, Institute of Contemporary Art, Milestones of American Painting in Our Century, c. Jan. 2-c. Mar. 3, 1949, cat. 21.

Montreal, Canada, Mar. 18-Apr. 20, 1949.

Canadian National Exhibition Art Exhibit, Aug. 26-Sept. 10, 1949.

Beloit, WI, Beloit College, Oct. 11-Nov. 11, 1949.

Dayton, OH, Dayton Art Institute, The Artist and His Family, Mar. 3-Apr. 1950, cat. 40.

Cedar Rapids, IA, Coe College, Centennial Exhibition, May 15-June 9, 1952, cat. 24.

New York, Wildenstein, Landmarks in American Art, 1670-1950, Feb. 26-Mar. 28, 1953, cat. 50, ill.

Syracuse Museum of Fine Arts, 125 Years of American Art, Sept. 15-Oct. 11, 1953, cat. 59, ill. p. 18.

Dubuque, IA, Dubuque Art Association, Thirty Years of Grant Wood, Feb. 15-Feb. 23, 1955, cat. 9.

Des Moines, IA, Des Moines Art Center, Communicating Art from Midwest Collections: American and European Paintings and Sculpture, 1835-1955, Oct. 13-Nov. 6, 1955, cat. 20, ill.

Davenport, IA, Davenport Municipal Art Gallery, Grant Wood and the American Scene, Feb. 3-24, 1957, cat. 5, ill. p. 5.

Lake Forest, IL, Durand Art Institute, Lake Forest College, A Century Of American Painting: Masterpieces Loaned by The Art Institute of Chicago, June 10-16, 1957, cat. 24.

Brooklyn Museum of Art, Face of America: The History of Portraiture in the United States, Nov. 13, 1957-Jan. 26, 1958, cat. 92, fig. 41.

Washington, DC, Corcoran Gallery of Art, The American Muse: Parallel Trends in Literature and Art, Apr. 4-May 17, 1959, cat. 130.

Art Institute of Chicago, Two Centuries of American Art, 1750-1950, Oct. 1, 1959-Jan. 10, 1960, no cat. [downloadable checklist available].

Art Institute of Chicago, Art in Illinois, In Honor of the Illinois Sesquicentennial, June 15-Sept. 8, 1968, p. 10.

Art Institute of Chicago, 100 Artists, 100 Years: Alumni of the SAIC, Centennial Exhibition, Nov. 23, 1979-Jan. 20, 1980, cat. 112, ill. p. 35.

New York, The Whitney Museum of American Art, Grant Wood: The Regionalist Vision, June 16-Sept. 4, 1983, cat. 25, pl. 32; Minneapolis Institute of Arts, Sept. 25, 1983-Jan. 1, 1984; Art Institute of Chicago, Jan. 21-Apr. 15, 1984; San Francisco, M. H. DeYoung Memorial Museum, May 12-Aug. 12, 1984.

Omaha, NE, Joslyn Art Museum, Grant Wood: An American Master Revealed, Dec. 10, 1995-Feb. 25, 1996, cat. 14, pl. 16; Davenport, IA, Davenport Museum of Art, Mar. 23-Sept. 8, 1996; Worcester, MA, Worcester Art Museum, Oct. 6-Dec. 31, 1996.

New York, The Whitney Museum of American Art, The American Century: Art and Culture, 1900-1950, Apr. 23-Aug. 22, 1999, cat. 435, color ill. p. 225.

Cedar Rapids, IA, Cedar Rapids Museum of Art, Grant Wood at 5 Turner Alley, Sept. 10-Dec. 4, 2005.

Renwick Gallery, Smithsonian Institution, Grant Wood's Studio: Birthplace of American Gothic, Mar. 10-June 11, 2006.

Des Moines Art Center, After Many Springs: Art in the Midwest in the 1930s, Jan. 30-Mar. 30, 2009.

Art Institute of Chicago, America After the Fall: Painting in the 1930s, June 5-Sept. 18, 2016; Paris, Musee de l'Orangerie, Oct. 15, 2016-Jan. 30, 2017; London, Royal Academy, Feb. 25-June 4, 2017, cat. 47.

New York, Whitney Museum of American Art, Grant Wood: American Gothic and Other Fables, Mar. 2-June 10, 2018, no cat no., pl. 33, checklist p. 259.

The artist; sold to the Art Institute of Chicago, November 1930.

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American Gothic | The Art Institute of Chicago

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La Table dans la verdure, Gerberoy by Henri Eugène Le Sidaner, 1926 Gouache

Artwork like this always catches my eye. I love the effect of this piece since it creates a very dreamy and soothing feel. If this were to tell a story, it sets on a spring day noon, lunch with a loved one.

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Frederic Leighton, Pavonia 1858-59, Oil on canvas

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'Nanna', the title of which is translated as 'Pavonia' ('pavone' is an Italian word meaning 'peacock') and which features a peacock's feather, contrasts with the "Bianca", the title of which means "white" and features a dove's wholesome radiance.

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James Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875. Oil on panel

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"Nocturne in Black and Gold - The Falling Rocket" was an effort to capture the magical apparitions that arise and vanish from a fireworks show's smoke. What seemed to be splattered paint to the reviewer was actually an intense attempt to replicate the transitory dynamic of dazzling firelights.

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Daniel Wall

Beautiful Night

2018

Oil Painting

This artwork is extremely beautiful to me because of all the fall beautiful colors and the couple in the middle of it all. It really does a great job of capturing a beautiful evening stroll with someone. It really portrays romance well and in a beautiful scenery. The scenery is really the majority of the painting but the couple so small in the middle is eye catching due to the walkway that leads our eyes there. I chose this artwork because to me this is a beautiful moment that is well captured in this painting. This piece is relatable because it captures the romance everyone wants to have.

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Sara Singh, Chanel, spring ,2004 couture, ink and a brushwork in layers on the computer

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Sara Singh's art has a fluid aspect to it that she maintains while she meticulously applies ink and brushwork in applies on the computer. Singh, a transplanted Swede, employs this wet line to create strong remarks that aren't bogged in detail but go to to the core of her themes.

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Norman Rockwell

The Problem We All Live With

1964

Painting

This piece was meant to represent what it was like dealing with racism and segregation during the 1960s. It expresses the hardship of being an African American during the 60s by showing this little girl having to be escorted by 4 white men to school. It shows the pain and the hardships African Americans had to endure at such young ages. I chose this piece because it captures a moment and hard time that everyone needs to know and understand and because it becomes relatable to today. Unfortunately, racism still carries on today and it’s important we learn and share about it to hopefully make change.

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Fumeroism

George Floyd

2020

Spray Paint

This piece was made in memory of a man named George Floyd, who we had lost in 2020 at the hands of police officers. This piece is meaningful in a much bigger problem in our world and works to show the beauty of George. I chose this artwork because I personally love graffiti art because it is so bold and colorful and not always realistic. I also chose this piece because of how recent this his passing was and how connected i’m sure it made a lot of us feel. It was a beautiful mural and stands for a great movement, that being Black Lives Matter.

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The Great Statue of Amida Buddha at Kamakura, Known as the Daibutsu, from the Priest's Garden. Created by John La Farge. Made in 1887. With oil paints.

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This piece caught my eye the most due to the simplicity of it. Personally I love simple things and the use of natural cool tone colors and this is exactly what this piece displays. I think it is a really beautiful piece. I've never seen it before I was looking at the Metropolitan website. I also personally love how large and front and center the buddha is.

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La Orana Maria was paints in 1891 by Paul Gauguin. The dimension is 44 3/4 x 34 1/2 and the medium is an oil on canvas. Paul said that this artwork is "an angel with yellow wings reveals Mary & Jesus, both Tahitians, to two Tahitian women, nudes dresses in pares, a sort of cotton cloth painted with flowers that can be draped from the waist..."
The reason I chose this artwork was because it was very unqiue and different from the rest of the other piece. I chose this without knowing what it was about and I wanted to know the story behind it. What was also interesting was how the women in red with the kid on her shoulder is covered up but the two women in the back is topless. It looks like the women are the ones doing the job and I relate to it because in Cambodian culture, it's the same. Usually the women do the house work which including finding food while the men do the "hard work."

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Preparing for Christmas (Plucking Turkeys) created by Francis William Edmonds in 1851 with oil paints. 

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I chose this piece for art for the sake of expression because it is displaying a thanksgiving dinner and thanksgiving can be a slightly controversial topic so I believe that this can be taken politically and it is all about perspective. This stood out to me because I feel as if there is no real story and you are able to make your own story about what is going on.

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"The Laughing Cavalier" Frans Hals. 1624. Oil on Canvas

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1. I think this is such a beautiful painting, because it depicts the timelessness of a smile. That mirth is universal.
2. I chose it because you can't help but look at it and smile, and wonder what he was laughing about, what to him in this period in his position would he consider humor and why did he choose this expression for his portrait? I relate to this work because a smile is universal. laughter and happiness is the best medicine and it connects us all.

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The Immaculate Conception by Guido Reni created in 1627. Using oil paints

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This piece stood out to me because of the colors and intense detail. As stated before I really enjoy cool tones as well as simple pieces and I think that this was a very simple yet extremely detailed piece. I have a phone case similar to this painting and I think that is why it stood out the most to me.

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"Nocturne in Black and Gold: The Falling Rocket" John Abbot Whistler. 1874. Oil on Panel

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1. This piece is art for the sake of philosophical expression. It is pure mood and emotion. The artist believed that art should be free of "clap-trap" and appeal to the most basic of senses. In this way, the piece connects us all through our most primal instincts.
2. I chose this painting above all the others, because it did what a piece of artwork should do when seeking to express something. It made me feel, pure and simple. I reacted to it viscerally and in doing so, understood the intent of the artist.

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Buddha, early 7th century, China, 38 in x 27 in

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This Buddha sculpture was made with dry lacquer with polychrome pigment and gliding. It didn't say who made in but it was made in China in the early 7th century. I chose this piece because it's a part of my culture. We believe in buddha and even though it is made in China, it is very similar to the one us Cambodians make. It's also very different because of the hands. There's an arm but no hands but it looked like the hands was in a specific positon.

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"Modesty" Antonio Corradini. 1752. Marble

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1. I think this piece is beautiful in its artistry and complexity. There is something amazing about creating something with such a soft and organic feel out of a medium as hard and immovable as marble. By depicting the figure in such a way the artist is both portraying and contradicting the virtue of "modesty" his mastery of his medium is awe inspiring.
2. I chose this piece above all others because I have always been fascinated by artists abilities to shape marble in to such a natural form. To make it appear translucent and weightless has always intrigued me. I wish I could understand that level of artistry, the passion and skill, to get inside the mind of someone like that would be just amazing.

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Winslow Homer, 1899, Flower Garden and Bungalow, Bermuda, watercolor and graphite on off-white wove paper

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This painting depicts a beautiful view of a bungalow in the Bermuda. Personally, I chose this because I love going on vacations and just feeling so serene looking out at the view. The flowers add a nice touch to the whole piece, adding a sense of warm weather. The warm colors also adds to weather. I love the use of watercolor because I don't see a lot of art using that medium, but when it is used, the colors blend together nicely. I chose this piece among others because I enjoy looking at sceneries like so.

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Rembrandt, 1653, Christ Crucified between Two Thieves: The Three Crosses, Drypoint printed on vellum

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As a Christian, this piece tells a very powerful story of Jesus being crucified on the cross. I love how this piece uses shading as a way of shedding the light onto Jesus and the 2 thieves while the dark shades onto more of the people. This moment in history is the greatest event to ever happen. I chose this specific piece among the others because of the shading and how it shines light directly onto Jesus. This piece connects to my faith and religion.

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Martin Luther King at Robert Taylor Homes, Chicago, 1965

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This photograph was captured by Robert Sengstacke in 1965. The medium is made of gelatin silver print on a 22.5 x 33.8 cm. The reason why I choose this piece was because MLK is such a huge impact in most of our lives. He ended segragation, so people of all races will be equal. He protested and boycotted to gain freedom and equality for all African Americans.

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John Frederick Kensett, 1872, Sunset on the Sea, Oil on canvas

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Lastly, I chose this piece because I absolutely love watching the sunset. In addition, the beach is one of my favorite places to go, and when I do go, I stay to watch the sunset above the horizon. Watching the sunset while looking at the sea gives off a sense of peace and serenity. There's just something about looking at all the colors in the sunset mix together. I chose this piece among the rest because it was the only piece that had both a nice view of the ocean and the sun setting. I am also a big fan of photography so if I see beautiful sunsets like these, I always take photos of them.

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"Portrait of the Countess of Casa Flores", 1790-97, Francisco Goya, Oil on Canvas

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The purpose of this work was to create an image that portrayed the subject in an aesthetically pleasing and ideal way. The contrast between the darker/warmer background and the light color palette of her dress gives the painting a good sense of balance. The seated position and calm demeanor give off a sense of status. I chose this painting because it captures the aesthetic of beauty associated with the romantic movement.

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George Hitchcock
Flower Girl in Holland
1887
Oil on canvas

This piece of art shows a girl selling flowers door to door. This painting makes me feel relaxed and the air around me feel like and easy to breath. The girl is surrounded by beautiful scenery. There is not one other house in view. Making this paining so beautiful to me. It reminds me of being in a farming town where life is not fast paced and simple making it a beautiful peice to me.

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Nicolas Enriquez
The Virgin of Guadalupe with the Four Apparitions
1773
Oil on copper

I relate to this painting because I was brought up Catholic and with a picture of the Virgin of Guadalupe in at least one room in the house. This picture caught my eye because each corner has different apparitions known in the religious history.

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"The Funeral of the Anarchist Galli", 1910-1911, Carlo Carrà, Oil on Canvas

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Art for the sake of political expression 

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Art for the sake of political expression 

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This Italian Futurist piece was done in response to the anarchist Angelo Galli being killed by police during a general strike. Though abstracted, one can feel the distress and panic portrayed by the figures in the painting. There is a mostly dark palette and lots of chaotic movement captured. This is a powerful political commentary on state violence, it serves to highlight and bring awareness to a political movement. I chose this piece because of it's political context, works done in a time of political upheaval often reflect the struggle of the day.

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1. Artist: Edouard Manet

Title: Jesus Mocked by the Soldiers

Year: 1865

Medium: Oil on canvas

2. As soon as I saw this artwork it took me back to my childhood days when I would attend Sunday school and they talked about how they treated Jesus. It makes me sad to see a painting like this, Jesus suffered a lot for us and just seeing it in painting makes it more real. Whether you believe in God/Jesus or not this painting is sad.

I chose this painting over the others just  because it shows the pain in Jesus' eyes, not only that but Jesus wasn’t a bad person and he just sat there and endured all that pain, he didn’t complain, he didn’t fight back he simply just did as he was told. It is sad how people treated Jesus and how they mocked him.

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Artist's: Bartolome Esteban Murillo, Virgin and Child, 1670, Material/Medium: Oil on canvas, Dimensions: 65 1/4 x 43 in.

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The purpose of this art is religious; it is beautiful and represents the Virgin Mary, mother of Jesus. In the Catholic Religion is one of the pillars in which we have faith, to which we connect as our mother as well and identify ourselves as a mother. I am Catholic, and since I was little, I saw this type of painting in the churches of my town develop by Diego Quispe Titto in Cusco. It was brought to my village by the Spanish mestizos.

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 A moth, Butterflies, and Bees, 1644-1652

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1. Artist: Wenceslaus Hillary
Title: A Moth, Butterflies, and Bees
Year: 1644-1652
Medium: Etching on Ivory laid paper.

2. This piece is simple; it is just a piece that has a moth, butterflies, and bees. When we picture bees, butterflies and moths we picture them the same when in reality there are over 16,000 species of bees and about 15,000 species of butterflies. I believe the artist was bringing that across his artwork, showing the different types of species.

I chose this piece of artwork due to the butterflies. I am currently going through a miscarriage and have had one about for years ago. When I see butterflies they remind me of my angel babies that are in heaven. I also see butterflies as they stop by saying hello in their own way. It’s just something I like to believe that way I am not always sad and I try to see the positive.