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I chose this painting of a city landscape because this is something I would put in my own home. It's simple yet shows so much through the different colors and splatters shown.

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This Chinese porcelain piece from the collection Ewer from Burghley House, Lincolnshire caught my eye because I have always been fascinated by porcelain. This piece was created in 1573-1585, there is credibility due to Rogers Fund, but no other name connected to this piece. Porcelain is so beautiful because although it is so simple it showed the importance and value it held at the time it was created. Only those with power and money were able to experience the honor of owning porcelain and I think that is so interesting.

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Nightlife was created by Archibald John Motley Jr. in 1891-1981. This Chicago painter painted this visual of a party of people dancing and enjoying life late at night. I chose this piece because honestly it made me sad, due to COVID we have not been able to live our lives and meet new people. This oil painting gave me a reminder of what our lives use to look like before we had to be cautious of if each person passing could infect us. Our reality is sad and hopeless but this painting reminded of what we have to get back to after this dark storm passes.

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The Rock by Peter Blume created in 1944/48 depicts a distraught city with their lives falling apart. Blume's dramatic shot of a destroyed rock related to many WW2 viewers yet when I first came across it I looked at it as our future. Climate change and pollution has surfaced as a major problem within the last few years and many people are not taking It as seriously as they should. This oil painting spoke to me as an expression of the scared and fearful future we might have ahead. This piece could be expressed as political because unfortunately the topic of climate change has turned into a political debate instead of a productive conversation.

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"Paris Street; Rainy Day" by Gustave Caillebotte is an oil painting on a seven by ten foot canvas. This beautiful painting of this Paris intersection was created in 1877. The use of linear perspective and color scheme capture the wet cobblestone and architecture. What is most special about the painting is the focal point of the man and woman sharing an umbrella. It displays friendship, love, and connection. It also ties into the theme of Paris perfectly as it is the city of love.

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This is an oil on canvas painting entitled, "The Earth is a Man". It was created in 1942 by artist Matta. The saturated colors peeked my interest. I especially love the abstract figures that seem to be replicating flowers and the sun. This painting expresses the artist's spiritual beliefs. He used layers of paint to replicate enery waves, and the abstract shapes replicate the beauty in nature. I am connected to this piece because I think it relates to my appreciation and connection to the natural world.

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"Woman Descending the Staircase" by Gerhard Richte is oil painted over a photograph. It was created in 1965. I enjoy the monochromatic color palette and technique the artist used to give movement to a simple photograph. This painting exudes glamour, confidence, and female power. Her posture, metallic dress and statement earrings all contribute to this. This piece can make one appreciate the beauty, gracefulness, and power of women. Of all the art I saw in the virtual Art Institute of Chicago, I would want this hanging in my house. It makes me feel confident and energetic.

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1.	Art for beauty’s sake Artists name:  Maison Leoty (French) Title: Corset Year CC: 1891 Material/Medium: Silk

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1.	Art for beauty’s sake Artists name:  Maison Leoty (French) Title: Corset Year CC: 1891 Material/Medium: Silk

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The purpose of this artwork was to demonstrate the norm and stereotype that was embedded upon women back in the 1800’s during the time this piece was made. In that instance, a softly rounded female form was preferred during that time. As to say women used those corsets in order to modify their appearance and adjust to what society wanted to see them as, when it came to physical appearance. Creating this profile for women, with straight and rigid busks of a ‘curved waist’ rounded over the belly to hide imperfections some women had, which is very body shaming like I believe. The color is beautiful to me, but I don’t think it is good to have this corset trend and item stereotype and profile female to be the ‘preferred’ physical appearance. It's story I think is influencing from this modification in the female body to start extreme beauty modifications and what then became surgeries and not just using certain clothes items to modify and change a women’s appearance. I chose this because I have seen it often in the beauty world such as modeling where some tight their waist with them when they wear a dress, therefore I think its correlated to the profile of what is beautiful in a woman. Which now, has become to have a skinny body and such.

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Artists name: Made in Paris France Title: Virgin of the Annunciation Year CC: 1300-1310 Material/Medium: Limestone, Traces of paint

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Artists name: Made in Paris France Title: Virgin of the Annunciation Year CC: 1300-1310 Material/Medium: Limestone, Traces of paint

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-  The purpose of this specific artwork I believe is to be used in spiritual meditations and such. It is religion oriented, but mainly interpreted as a medium of spiritual meditations where the archangel Gabriel message foretells, the birth of the Christ Child. Its features carved out and the slight smile, make it very beautiful and therefore make me think must be on purpose since its meant to show a religious style to show analogies of spirituality in Paris population and viewers overall. With that said, I think it would serve to unify people and its audience through spiritual gathering groups where they use this statue, and such similar practices. Its story I believe is how it was used back then in spiritual practices and carries forward to multiple instances of which many believe this art foretells and shows the story of religion with Christ and his birth told to the people by Gabriel. I think dark colors in artwork are interesting and this resembles a lot of the Catholic religion for what I know as ‘The Virgin Mary”.

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Artists name: Georgia O’Keefe Title: Cow’s Skull with Calico Roses  Year CC: 1931 Material/Medium: Oil on Canvas 

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Artists name: Georgia O’Keefe Title: Cow’s Skull with Calico Roses  Year CC: 1931 Material/Medium: Oil on Canvas 

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-  The main purpose of this artwork is to express the events O’Keefe witnessed with the drought on the Southwest that resulted in many animals starving to death. Some of which, O’Keefe used their skeletons to make this painting. She says “To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around.” What makes it beautiful as well is that it is using a lot of white and to me that makes the art more clean, and modern looking. The roses are a nice touch and represent beauty or passing (post) death and that resembles what O’Keefe witnessed with these animals and how they died. I think it could serve to connect the audience in a way, to sort of think of animals and preserving them. As well as ways to understand certain circumstances that are unexpected when it comes to natural disasters and such which all are not entirely survivable in some instances and we must be careful. I believe I chose art piece this over other artwork pieces because the skull is very strong and powerful as a piece and adding the flowers and texture softens it up and makes it look very pretty and eye catching.

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The title of this Art piece is The Water Lily pond. it was created by Claude Monet in 1899. The piece was made with oil paint. i chose this artwork because not only it makes me feel in peace but when i was little I was always go with my dad to a park that had a pond and this stood out to me because of that memory I have with him.

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Cesar Chavez done by Ernesto Yerena it was made in May 19, 2009. the medium that was used was fine art serigraph on 320 GSM stonehenge archival paper. i choose this art of Cesar Chavez because I understand why he was fighting for the right of farmers to get a fair pay. even though I cant relate what he and other had to go through with little pay, I can feel their needs and understand how they felt.

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The artist behind this beautiful piece is Vincent Van Gogh and the tittle is vase with carnations. it was created in 1886, medium was realism.
This piece I chose because I like realistic art myself and this one stood out to me because I also like flowers and the ones in the picture are just beautiful and well put

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1. Katsushika Hokusai
2.The Great Wave
3.1830/1833
4. Color woodblock print; oban

The main aim of this artwork is to show the beauty of the landscape of Japan, by showing a setting of the coast with Mt. Fuji in the background. I choose this artwork among all others because of the sharp designs the waves have and the serene landscape. I relate with this artwork because I have a poster in my room with this specific artwork, with Godzilla in the forefront.

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

The emotion that is shared in this artwork is the struggle for liberty. The story that is told in this painting is a group of slaves, women and children, are escaping and lack any direction for freedom. I decided to choose this artwork among all others because of the political situation this artwork was made, as the artist was a Union Soldier in the American Civil War. I relate to this artwork in that I studied the life of African Americans within this certain period in history earlier this week in my Mexican American studies class.

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1. Anthony Van Dyck
2. Queen Henrietta Maria
3. 1636
4. Oil on canvas

The purpose of this artwork is to be a visual portrait of the queen of England, Queen Henrietta Maria. I decided to choose this artwork among others because it is a portrait of royalty, which would be made to show the appearance of the royal to everyone. I can relate to this artwork as there are portraits of myself that were hand-drawn, although I am not royalty.

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The title for this beauty is A George in the Mountains (Kauterskill Clove). This piece was created in 1862 by Stanford Robinson Gifford. Gifford is an American artist from New York who lived between 1823 - 1980. I choose this piece because of the immeasurable peace in had brought to my spirit while looking at the picture. It was such an extra-ordinary painting that is focuses a lot more on the light and beauty of the atmosphere in general rather than just the landscaping.

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Art for the sake of Expression

This piece was made by Norman Rockwell to address the racism in America and the universality of people being affected with these harmful politics. The little girl being escorted by the U.S. Marshal to a white school while parents of her soon to be friends throw tomatoes at her opposing her coming to a white school really expresses the hateful actions of that generration.

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Artist: Katsushika Hokusai
Title: View of Saruhashi (Monkey Bridge)
Medium: Woodblock print; ink and color on paper
Date: ca. 1816–20

What is the purpose or aim of this artwork?
- I think it is beautiful because of the color scheme and the symmetrical balance the woodblock print has.
Why did you choose it among all others? How do you relate with this artwork?
- I chose this one out of all the other Japanese woodblock prints because it is not the usual woodblock print with women, it is a woodblock print of a bridge and a scenery.

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Artist: Nicolás Enríquez
Title: The Virgin of Guadalupe with the Four Apparitions
Date: 1773
Medium: Oil on copper

What is the purpose or aim of this artwork?
- It it is a painting of the Virgen de Guadalupe. I found this beautiful because of the gold color that makes the Virgin stand out. I am a Christian, however, I grew up Catholic and I was named after her.
Why did you choose it among all others? How do you relate with this artwork?
- I chose this artwork over the others because I relate to it religiously. At birth I was named after this saint because my parents are devote to the Virgen de Guadalupe.

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Artist: Georg Baselitz
Title: Untitled
Date: 2015
Medium: Diptych; ink and Lavis on paper

What is the purpose or aim of this artwork?
- This artwork is very different than the other two artworks I chose. What I found beautiful about this was the lack of color and the abstracness of the drawing. Whenever I look at it, it makes me wonder what extacly it is and makes me think about how there is no true or right answer to everything in the world.
Why did you choose it among all others? How do you relate with this artwork?
- I chose this over other artworks because it made me feel a certain way. I dont know how to explain it but it made me feel like life is not always easily interpreted and there can be different answers for a same situation. It made me feel good about my life choices because there is no one way to do something.

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This piece breath taking piece is the work of Fredric Edwin Church who was inspired by his trip to South America in 1857. This delightful work was painted in the Ecuadorian water banks and was publicly unveiled in New York at Lyrique Hall. I choose this piece because of the magnificent view of the waterfall coming from the mountains. I love nature as it is and Church's work clearly is about that.

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1. Vincent Van Gogh
2. 1889
3. The Starry Night
4. Oil on canvas

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What makes this image beautiful to me is its amazing night sky, filled amazing swirls made with blue, yellow and white paint. I love how you can see the brushstrokes, however, it does not look messy, they all work together to make beautiful texture. Another thing which has caught my eye is the tree, for some odd reason I have always enjoyed the shape, size, and texture of this tree.

I chose this artwork because my english teacher in high school had a copy of this painting in his classroom. I would always stare and it and be amazed by its beauty.

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1. Leonardo Da Vinci
2. 1495-1498
3. The Last Supper
4. Oil Painting on Canvas

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The piece reflects a belief and an emotion, it reflects my belief that Jesus Christ is our savior. However, it also reflects an emotion of sadness and confusion, you can see the disciples arguing and scared for it is their last supper with christ. I beleive this peice serves to unify us, it shows that we don't have to worry like the disciples are worrying; we need to be calm and present juist like jesus is in this image. I chose this image because I am a Christian and I have always enjoyed this scene. I relate to this image because often times I am confused and worried like the disciples are, however I need to have more faith in God, and relax.

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1.John Van Hamersveld
2. 1966
3. The Endless Summer
4. Silkscreen

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The purpose of this artwork is to show people the beauty in surfing, nature, and frendship. I chose this image among all other becasue it reminds me of my favorite place, the ocean. I relate to this artwork because I am a surfer, and one day would like to chase waves all over the world. I believe it expresses an emotion of relaxation, this is an emotion I would like to share, and omit. This image serves to connect us and show us that there is so much beauty in both friendship and nature. This image tells a story of three friends who are about to go surfing.

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1. Artists name: Bruce Nauman

Title: Human Nature/Life Death

Year: 1983

Material/Medium: Neon tubing with clear glass tubing suspension frames

The author wanted a way to create and examine the role of language in visual arts, so he adapted the medium of flashing neon. The artist then began to use this medium in a creative wordplay and jokes. There are three parts of words in this piece and that's what caught my eye. I love neon lights to begin with because I love how vibrant the colors are from them and they overall are just so nice to look at. The three work parts are life and death, love and hate and pleasure and pain. I love how these words are so powerful but yet can mean so many different things to everyone. Then in the center it has the words human, animals and nature and each word is doubled and stacked. This piece is very well put together and can target almost everyone, just everyone's experience will be different. The overall connection is that we are all affected by these things just in different ways and that is what makes it powerful. Then on top of the powerful message is these bright lights that catch your eye from across the room. I chose this one in particular because I found it really uque how I feel that everyone can relate to this in some way because everyone has felt pain or pleasure. I also chose this piece because the colors and neon lights in general are something I really like.

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1. Artists name: John Bennett

Title: Vase

Year: 1882

Material/medium:Painted and glazed earthenware

This is a fairly large vase with a beautiful pattern and bright colors. The main vase color is a cream-yellowish color with a beautiful flower pattern. Then the vase slims up at the top and changes color from the cream-yellowish color to a water blue color at the top of the vase. This piece caught my attention to start off with because it has these beautiful pink flowers on the vase. Not only are they pink flowers,  I just so happen to love flowers and my favorite color is pink. The pink flowers really stand out on the cream-yellowish color making the piece catch your eye that much more. Also the bluish color on top is so dark compared to the cream color making it a bold transition between the colors, and that too caught my eye. Along the flowers they are connected with brown branches that also stand out on the cream color. Not only is the pattern of the vase pretty, the fact that it is also a vase made it stand out compared to the rest because it's extremely appealing to the eyes and also is used for something I love.

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1. Nychos
2. "Bleed Teal."
3. August, 2019
4. Fresco/ Mural
___________________________________

1. This artwork tells a story about the San Jose Sharks and provides cultural relationship through imaging with the city of San Jose, which is a die heart hockey city.

2.  I choose this artwork because of it's relation to the city of San Jose. We have various sports teams in the Bay Area, but the Sharks are a jewel of San Jose.

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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

This artwork is very nice to look at, there’s a lot of features when you look closely that makes a beautiful piece The colors and texture is very uplifting to look at, it makes me feel the sun and the smell the sea when I look at it. The artwork serves to connect us to the scene the artist created, he was able to translate his experience into this painting.

I chose this piece because it stood out to me, it really brought me the feeling of a sunny day by the sea side. The use of color and texture brings out this experience, the brush strokes can translate the feeling the artist was having the day he painted this. Looking at this makes me want to look at better times, the pre-covid days when you can do as you please without having to worry about getting sick or dealing with the hysteria.

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1. Artists name: Caleb Gardner

Title: Easy Chair

Year: 1758

Material/Medium: Walnut, maple

The purpose of this is to be used as a chair, it has wings on the side so someone can rest their head and to keep wind away. It was typically reserved for the elderly or the infirm. When looking at the chair from the front you see a beautiful pattern of colors between red, orange and yellow. With the background being green so the front colors in the pattern really stand out. Then when you look at the back of the chair it is a completely different design. It has a picture of hills with flowers and trees, with birds flying and birds swimming in the lake at the bottom on the chair. It gives off the image of a beautiful day. Everything is nice and green with flowers growing and the sun shining with a smile. What caught my eye was the flower patchers in the hills because I love flowers and plants. Then when I  kept looking I started to love it even more because it was so beautiful to see the animals and nature happy doing what it should and thriving. I am a gardener so I tend to love the outside and nature more so to see such a perfect day really caught my eye. Another reason I chose this piece over other ones is because I like how it gave an illusion of pattern in the front then completely changed the whole theme of the chair in the back.

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1. Artist's Name (Unknown)
2. Title (Unkown)
3. 2019/2020 (Approximately)
4.  Fresco/Street Mural
___________________________________

1. The purpose of this artwork is to depict a reality which may not be seen by all Americans by the use of vivid imagery.

2. I chose this artwork because it resonated with me when I first saw it. It is located right next to the Jack in the Box and La Taqueria by SJSU on San Carlos and 4th. I believe it depicts the reality that the American dream is a far different reality for most Americans.

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Artist's name : Edouard Manet
Title of artwork : Jesus mocked by the soldiers
Year it was created : 1865
Material/Medium : Oil on Canvas

As a Christian, I see the suffering of Jesus in the hands of the soldiers, but the soldiers look conflicted. Jesus is painted traditionally but the soldiers seem like they do not want to be in their situation. This painting is different from others that depict Jesus’ suffering, the soldiers don’t seem to care much about his suffering. It is possible that this was created because of the slow shift of the church’s influence during the time.

I chose this piece because it was holy week, were as a Christian I am supposed to observe the suffering and passion of Jesus. I feel that if this were done today, it would fit in with the way the world is, where in people do not take in to Jesus’ suffering for mankind.

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Artist's name : William Trost Richards
Title of artwork : A Rocky Coast
Year it was created : 1877
Material/Medium : Watercolor and gouache on fibrous brown wove paper

The color and texture of this piece is very striking, the shades of browns and other earthy colors brings out the whole painting. This painting was made to help elevate the status of watercolor in the United States, this was done by using water colors with gouache on paper used to line carpets. The result is strong visuals, contrast, texture, and dark colors which possibly cannot be matched by oil based paints. Seeing this painting makes me feel like I’m at a tidepool along the coast watching the tide come in from the ocean.

I chose this piece because the colors and textures really caught my attention. After researching more and discovering the purpose it was made for and the medium it was created with, I was very impressed by the realism it had. I like the ocean, it is something that needs to be respected and seeing the rocks in painting makes me think of the centuries it took for the waves to carve them out.

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1. Mark Ulrisken
2. "Three Ring Circus."
3. 2014
4. Acrylic on Canvas.
___________________________________

1. I believe the purpose of this artwork is to depict the different athletic abilities of all players on the baseball diamond, as you can see by their acrobatic motions.

2. I choose this artwork because of my deep love for baseball. I have played this game for nearly ten years, it is my passion. However I am no Giants fan! GO A"S

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1. Artist's name : Sandro Botticelli

2. Title of artwork: The Birth of Venus

3. Year it was created: c. 1484-1486

4. Material/Medium: Tempera on canvas

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Personally, the artwork is beautiful because it is naturalistic in representation. I think it is in human nature to attribute something that resembles the real world as beautiful or visually appealing.  Additionally, the muted color palette of the painting is beautiful. The artwork depicts the birth of Venus as referenced by the mythology written by the poet Homer. I have always been interested with Greek and Roman mythology. I grew up reading the mythology written by Edith Hamilton and it was said in the text that out of the children of the roman god Jupiter (Zeus to the Greeks), Venus was the only one who has Jupiter as the sole parent as she was born out of sea foam which in itself is really intriguing. I believe the artwork aims to unify people with the same beliefs. There are many depictions and varying opinions of artists or authors of the birth of Venus or Aphrodite and I think that this specific artwork aims to establish the version of the birth as the one that is true. I chose the artwork among the many other representations of various artists because this particular one is the most famous among others. I think the visage of Venus here sets up an idealized image of a woman or a beautiful person. Personally, I relate with it in a sense that women are often put on a pedestal due to the attributes imposed on us. We are expected to be innocent, pure, and modest and Venus here personifies all of those attribute. When you look at the painting, the Venus depicted here is quite shy, avoiding the gaze of those around her. As a female living in the 21st century, I relate to that aversion and the unease experienced by Venus (even if she is a goddess that takes human form) of the the ideals thrown upon her.

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1. Artist's name: unknown but is of Eastern Tibetan Origin; photographer: Sean Pathasema

2. Title of artwork: untitled but it is a Bhavacakra

3. Year it was created: circa 1800

4. Material/Medium: Applique and embroidery on silk

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The purpose of the artwork is to help ordinary people understand Buddhist teachings, specifically the concept of samsara. The artwork is a Bhavacakra, a symbolic representation of the samsara or cyclic existence of both Buddhist and Hindu teachings. For me, it is visually beautiful because of its silken exterior, the rhythmic occurrence of patterns, and the tiny colourful depictions of the elements of the Bhavacakra. Even though I am a Catholic, I’ve always been fascinated with the concept of reincarnation. My interest with it has furthered when I learned about the idea of Samsara in a World Religion class. Basically the samsara in the Bhavacakra, there are six realms that are interconnected, everyone goes through the cycle of life, death, and rebirth again and again but there is a possibility to end that cycle through Nirvana. I think the artwork serves to connect us because both Buddhist and Hinduism philosophy believes that "everything and all existence is connected, cyclical and composed of two things, the soul and the body or matter" (Wikipedia). I chose it among all other Bhavacakras because it’s the only version of it that is not painted on a wall and for me I think it is unique because of that feature. In a way, it’s more accessible for people who want to learn about karmic existence because you can bring it with you everywhere. Also, it’s an art that conveys a universal message and I always liked art that aims to educate. There is a little part of me that acknowledges the possibility that every individual in this world are connected. And maybe we have all lived a dozen of lives—undergoing the cycle of birth, death, and rebirth again and again and our struggles towards achieving the state of “Nirvana” and breaking the cycle of samsara are what binds and connects us. Maybe the reason why we are familiar with people or place we haven't met or seen before is because we have known them in our past lives. We are not perfect beings but the struggle and pursuit towards enlightenment is what connects us all together.

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1. Artist's name: Guillermo Tolentino

2. Title of artwork: The Oblation

3. Year it was created: 1931

4. Material/Medium: reinforced concrete

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artist: George Inness
year: 1891
medium: oil and crayon or charcoal on canvas
the purpose of this was to show the spring time in New Jersey. what makes it beautiful in my eyes is the trees blossoming into different colors. for some reason it brings me peace it makes me feel like if i was there. The story it tells is just how new Jersey looks during spring time. I chose this amongst others because it represents natures beauty. I can relate to this artwork because my favorite season is spring.

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Title: A Sunday on La Grande Jatte, 1884/86
Artist: Georges Seurat
Medium: Oil on Canvas

This is one of my favorite paintings and is considered Seurat's greatest artwork. It took him two years to complete this painting because it is made from tiny dots of many colors, and represents a normal day in people's lives in the nineteeth century.

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Title: The artist Looks at Nature, 1943
Artist: Charles Sheeler
Medium: Oil on Canvaas

I personally like this painting because the artist is seeing himself from a different point of view, and Sheeler was a phtographer as well so i love how in the painting he is actually drawing one of his photographs, and overall I think it's a great perspective.

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Title: Jesus Mocked by Soldiers, 1865
Artist: Edouard Manet
Medium: Oil on Canvas

This was a shocking and bold painting that Manet painted portraying Jesus as a vulnerable human being. It was a shock because most people would only think of Jesus as a God, and I think they were outraged because it makes him seem sort of weak, surrounded by these soldiers torturing him.

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1. Joan Mitchell
2. 1955
3. City Landscape
4. Oil on linen

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The purpose of this artwork is to show how a beautiful woman is being presented to the world. Her face is not shown, but the long dress and necklace she is wearing shows her personality.

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Show this image

Related Content

Woman at Her Toilette

Date:

1875/80

Artist:

Berthe Morisot
French, 1841-1895

Related Content

About this artwork

Consistent with the Impressionist aesthetic that Berthe Morisot fervently espoused, Woman at Her Toilette attempts to capture the essence of modern life in summary, understated terms. The painting also moves discreetly into the realm of female eroticism explored by Edgar Degas, Édouard Manet, and Pierre-Auguste Renoir but seldom broached at this time by women artists. Rendered with soft, feathery brushstrokes in nuanced shades of lavender, pink, blue, white, and gray, the composition resembles a visual tone poem, orchestrated with such perfumed and rarified motifs as brushed blonde hair, satins, powder puffs, and ﬂower petals. The artist even signed her name along the bottom of the mirror, as if to suggest that the image in her painting is as ephemeral as a silvery reﬂection. Morisot exhibited in seven of the eight Impressionist group shows; this painting was included in the fifth exhibition, in 1880, where her work received great acclaim. She was a particularly close friend of and frequent model for Manet, and she married his younger brother Eugène the year before she completed this painting. In addition to domestic interiors such as this one, Morisot's pictorial realm included studies of women and children, gardens, fields, and seaside vacation homes.

Status

On View, Gallery 201

Department

Painting and Sculpture of Europe

Artist

Berthe Morisot

Title

Woman at Her Toilette

Origin

France

Date

1870-1880

Medium

Oil on canvas

Inscriptions

Inscribed lower left: Berthe Morisot

Dimensions

60.3 × 80.4 cm (23 3/4 × 31 5/8 in.)

Credit Line

Stickney Fund

Reference Number

1924.127

IIIF Manifest

https://api.artic.edu/api/v1/artworks/11723/manifest.json

Extended information about this artwork

W. Dewhurst, "Impressionist Painting: Its Genesis and Development," International Studio 19 (May, 1903), pp. 165, 168 (ill.).

Roger Marx, "Les Femmes Peintres et l'impressionisme, Berthe Morisot," Gazette des Beaux-Arts, per. 3, vol. 38 (December 1907), pp. 497 (ill.), 498.

The Art Institute of Chicago Annual Report 1924 (Chicago, 1924), ill.

R.M.F., " A Painting by Berthe Morisot," The Art Institute of Chicago Bulletin 18 (1924), pp. 50, 51, (ill.)

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, (Chicago, 1925), p. 65 (ill.).

Monique Angoulvent, Berthe Morisot (Paris, 1931), pp. 55, 121, no. 83.

The Art Institute of Chicago, Handbook (Chicago, 1932), pp. 62, ill. 164.

D.C. Rich, "Französische Impressionisten im Art Institute zu Chicago," Pantheon 11 (March 1933), pp. 77 (ill.),78.

Lionello Venturi, Les Archives de l'impressionisme vol. 2 (Paris, 1939), p. 257.

Hans Huth, "Impressionism Comes to America," Gazette des Beaux-Arts, sér. 6, vol. 29 (April, 1946), pp. 225-252, fig. 17.

The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34.

The Art Institute of Chicago, Paintings in the Art Institute, A Catalogue of the Picture Collection (Chicago, 1961), pp. 340, ill. p. 288.

M.-L. Bataille and Georges Wildenstein, Berthe Morisot: Catalogue des peintures, pastels, aquarelles (Paris, 1961), no. 84, pl. 37.

Jean Dominique Rey, Berthe Morisot (New York, 1982), pp. 29, 35 (ill.), 37, 51.

Richard R. Brettell, French Impressionists (Chicago, 1987), pp. 24 (det. ill.), 25, 27 (ill.), 118.

Anne Higonnet, Berthe Moristot's Images of Women (Cambridge, 1992), pp. 106, 155, pl. 7.

Alain Clairet et al., Berthe Morisot 1841-1895: Catalogue raisonné de l'oeuvre peint (Montolivet, 1997), no. 85 (ill.).

Wendy Slatkin, Women Artists in History: From Antiquity to the Present (Upper Saddle River, 1997), pp. 137-139 (ill.).

Richard R. Brettell et al., Impression: Painting Quickly in France, 1860-1890, exh. cat. (London, The National Gallery and Williamston, Mass., Sterling and Francine Clark Art Institute, 2001), p. 91 (ill.).

Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Copenhagen, Ordrugpgaard, 2005/Forth Worth, Kimbell Art Museum, 2005-6), p. 85, fig. 62.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 19, pp. 58-59 (ill.).

Sylvie Patry, ed., Inventing Impressionism: Paul Durand-Ruel and the Modern Market (London: National Gallery Company, 2015), 134-35 (detail ill.), 145 fig. 95, 260 cat. 60.

Kang, Cindy, et. al., Berthe Morisot: Woman Impressionist, exh. cat. (Rizzoli Electa, 2018), 76, 78, 91, 93, 110, cat. 30.

Jason Farago, "Images for a Hazy New Age: Mapping a Transformation in the Depiction of Women," New York Times, Nov. 23, 2018, c20 ill.

Sylvie Patry in Berthe Morisot, exh. cat. (Paris: Flammarion, 2019), 81, 86-87 cat. 37.

Nicole R. Myers, "Morisot et la ffemme moderne," in Berth Morisot, exh. cat. (Paris: Flammarion, 2019), 180.

Possibly Paris, 2éme Exposition de Peinture (1), April 1876. [see D. Rouart, Correspondence de Berthe Morisot (Paris, 1950), pp. 98, 257]

Paris, 5me Expostition de Peinture, 1880, cat. 115.

Paris, Durand-Ruel, Berthe Morisot, Exposition de son oeuvre, March 1896, cat. 68.

London, Durand-Ruel at the Grafton Galleries, A Selection From the Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, cat. 162 (ill.).

Pittsburgh, Penn., Carnegie Institute, Exhibition of Paintings Édouard Manet, Pierre Renoir, Berthe Morisot, October-December 1924, cat. 29 (ill.).

The Arts Club of Chicago, Exhibitions of Paintings of Three Woman Painters, November, 1931, not listed in cat.

The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 334 (ill.).

The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 257.

The Toledo Museum of Art, French Impressionists and Post-Impressionists, November 1934, cat. 11.

New York, The Metropolitan Museum of Art, French Painting from David to Toulouse-Lautrec, February-March 1941, cat. 95 (ill.).

The Arts Club of Chicago, Berthe Morisot, March-April 1943, cat. 1.

New York, Wildenstien and Co., Berthe Morisot, November-December 10, 1960, cat. 12 (ill.).

New York, Wildenstein and Co., Paris-New York: A Continuing Romance, November 3-December 19, 1977, cat. 76 (ill.).

Southampton, New York, The Parrish Art Museum, William Merritt Chase in the Company of Friends, May 12- July 29, 1979, cat. 79 (ill.).

St. Petersburg, Florida, Museum of Fine Arts, Paris in the Belle Epoque: People and Places, March 1-April 6, 1980, cat. 56 (ill.).

Albi, Musée Toulouse- Lautrec, Trésors impressionnistes du Musée de Chicago, June 27-August 31, 1980, cat. 23 (ill.).

Tokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18-December 17, 1985, cat. 21 (ill.), traveled to Fukuoka Art Museum, January 5-February 2, 1986 and Kyoto Municipal Museum of Art, March 4-April 13, 1986.

Washington, D.C., National Gallery of Art, The New Painting: Impressionism 1874-1886, January 17- April 6, 1986, cat. 96 (ill.), traveled to the Fine Art Museum of San Francisco, M.H. de Young Memorial Museum, April 19- July 6, 1986.

Washington, D.C., National Gallery of Art, Berthe Morisot: Impressionist, September 6-November 29, 1987, cat. 35 (ill.), traveled to Fort Worth, Kimbell Art Museum, December 12, 1987-February 21, 1988 and Mount Holyoke College Art Museum, March 14-May 9, 1988, shown in Washington and Forth Worth only.

Leningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 18; Moscow, Pushkin Museum, June 10-July 30, 1988.

Lille, Palais de Beaux-Arts de Lille, Berthe Morisot 1841-1895, March 10-June 9, 2002, cat .49 (ill.), traveled to Martigny, Fondation Pierre Gianadda, June 20-November 19, 2002.

Copenhagen, Ny Carlsberg Glyptotek, Woman in Impressionism: From Mythical Feminine to Modern Woman, October 6, 2006-January 21, 2007, cat. 71 (ill.).

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29-November 2, 2008, cat. 19 (ill.).

Paris, Musée Luxembourg, Inventing Impressionism: Paul Durand-Ruel and the Modern Market, October 9, 2014-February 8, 2015, cat. 60; London, National Gallery, March 4-May 31, 2015; Philadelphia Museum of Art, Inventing Impressionism, June 18-September 13, 2015.

Williamstown, MA, Clark Art Institute, Women Artists in Paris, June 8 - September 3, 2018

Philadelphia, Barnes Foundation, Berthe Morisot, Woman Impressionist, October 20, 2018 - January 14, 2019, cat. 30; Dallas, Dallas Museum of Art, February 24 - May 26, 2019; Paris, Musée d'Orsay, June 17 - September 22, 2019, cat. 30.

Paris, Musée d'Orsay, Berthe Morisot, June 18-September 22, 2019, cat. 37.

William Merritt Chase, New York; his sale, New York, American Art Galleries, 1896, lot 1093 [according to Clairet 1997]. Mary Cassatt, 1896 [see Paris 1896]. Durand-Ruel, Paris, 1905 [see London 1905]. Wildenstein & Co., New York [according to Chicago 1933]. Paul Rosenberg, New York by 1924; sold to the Art Institute, 1924.

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Woman at Her Toilette | The Art Institute of Chicago

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Show this image Related Content Woman at Her Toilette 1875/80 Berthe MorisotFrench, 1841-1895 Related Content Consistent with the Impressionist aesthetic that Berthe Morisot fervently espoused, Woman at Her Toilette attempts to capture the essence of modern life in summary, understated terms. The painting also moves discreetly into the realm of female eroticism explored by Edgar Degas, Édouard Manet, and Pierre-Auguste Renoir but seldom broached at this time by women artists.

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1. Berthe Morisot
2. 1870–1880
3. Woman at Her Toilette
4. Oil on canvas

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The purpose of this artwork is to show people that others wear a mask to hide their true feelings. Not everyone is an open book willing to show the world how they truly feel.

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Newberry, Percy E. and H. R. Hall 1922. Catalogue of an Exhibition of Ancient Egyptian Art. London: Burlington Fine Arts Club, p. 81 no. 41 pl.4.

Scott, Nora E. 1945. Egyptian Statues. New York: The Metropolitan Museum of Art, fig. 6.

Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass.: The Metropolitan Museum of Art, p. 198, fig. 120.

Vandier, Jacques 1958. Manuel d'archéologie égyptienne: Les grandes époques: La statuaire, 3. Paris, 191, pl. 64.

Fischer, Henry G. 1964. "Two Royal Monuments of the Middle Kingdom Restored." In The Metropolitan Museum of Art Bulletin, new ser., vol. 22, no. 7 (March), p. 235, fig. 3.

Aldred, Cyril 1970. "Some Royal Portraits of the Middle Kingdom in Ancient Egypt." In Metropolitan Museum Journal, 3, p. 44, fig. 27; p.45.

Rousseau, Theodore 1970. "Masterpieces of Fifty Centuries." In The Metropolitan Museum of Art Bulletin, 29(3), p. 137.

Metropolitan Museum of Art 1977. Ancient Egypt in the Metropolitan Museum Journal, 1-11. New York: The Metropolitan Museum of Art, pp. 18-19, fig. 27; p. 22, n. 80.

Dorman, Peter F., Prudence Harper, and Holly Pittman 1987. Egypt and the Ancient Near East. The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, p. 42.

Robins, Gay 2001. Egyptian Statues, Shire Egyptology, 26. Princes Risborough, p. 44, fig. 39.

Oppenheim, Adela 2015. "Face of a Statue of Senwosret III." In Ancient Egypt Transformed: The Middle Kingdom, edited by Adela Oppenheim, Dorothea Arnold, Dieter Arnold, and Kei Yamamoto. New York: The Metropolitan Museum of Art, pp. 79, 81-83, no. 23.

Oppenheim, Adela 2015. "Artists and Workshops: The Complexity of Creation." In Ancient Egypt Transformed: The Middle Kingdom, edited by Adela Oppenheim, Dorothea Arnold, Dieter Arnold, and Kei Yamamoto. New York: The Metropolitan Museum of Art, pp. 23, 27.

Arnold, Dorothea 2015. "Pharaoh: Power and Performance." In Ancient Egypt Transformed: The Middle Kingdom, edited by Adela Oppenheim, Dorothea Arnold, Dieter Arnold, and Kei Yamamoto. New York: The Metropolitan Museum of Art, pp. 69, 71.

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Face of Senwosret III | Middle Kingdom | The Metropolitan Museum of Art

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Newberry, Percy E. and H. R. Hall 1922. Catalogue of an Exhibition of Ancient Egyptian Art. London: Burlington Fine Arts Club, p. 81 no. 41 pl.4. Scott, Nora E. 1945. Egyptian Statues. New York: The Metropolitan Museum of Art, fig. 6. Hayes, William C. 1953.

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1.  Face of Senwosret III
2.  1878–1840 B.C.
3. Red quartzite
4. Middle Kingdom

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Artist: El Greco
year: 1577-87
medium: oil on canvas

The purpose of this art work is to show us the devotion to religion. what makes it beautiful is that it speaks about christianity. it expresses the belief that jesus gave his life for us. it does or can serve to unify or connect us. it tells the story of sacrifice of one human to save many humans.
I chose this because i am a strong believer of jesus and how he sacrificed himself for all sinners. i can relate because i am a religious person.

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Artist: William Merritt chase
year: 1892
medium: oil on canvas

the purpose of this art work is to show women and children enjoying a day on the beach. what makes it beautiful to me is seeing how families get together and enjoy the beach. it expresses the value of family. it tells the story of how family time can be valuable.
I chose this because i really enjoy spending time with my family and i thought it was a pleasant painting.

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This painting is Vincent Van Gough's art piece called "Starry Night". This was created in 1889 which is an oil on canvas medium. The painting creates different emotions when it comes to the colors. Presented are the blue an yellow. It can show the night is awake an peaceful. It wants to unify in showing people in a small town together during the night sky. I chose this art piece because its well known piece of Van Gough and I feel that its giving a peaceful feeling for everyone.

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The piece I have provided is Leonardo Da Vinci's "The Last Supper".This was created in 1496 and is an oil painting. I have chose this painting because it is very common to see this in a catholic church or in homes. Each person in the painting has different expressions and are represented as the 12 apostles. They're sharing bread before Jesus was crucified on the cross. This painting can unify us and can show us that we can break bread all together if we wanted to. Growing up catholic, I've seen this painting in households where Catholic family and friends are hung upon their dining table. So it gives a memorable feeling of how everyone can be feasting together at a table.

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The painting that I've provided is Frida Kahlo's "Self-portrait with thorn necklace and humming bird" created in 1940. This is an oil painting. This painting caught my eyes because of its uniqueness. Kahlo included herself in her paintings a lot. Not many artists do that. She continued her work with nature and herself. I like this piece because she shows her connection with nature and how peaceful the painting is. This can unify us with the surroundings of what we have and make us realize that its not only humans that walk the earth, but also animals.

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1: Vincent Van Gogh, 1889, Title of piece is The Starry Night, and was painted with oils
I chose this piece for my art for beauty's sake, Ive always had a fascination with this painting, I typically like paintings that seem really realistic but have always found the color patterns, with the swirls in the skies to be incredible pleasing to look at with this painting. I think this piece wasnt exactly designed to unify or connect,

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Dan Nance
God Bless Our Troops
12/9/2009
Paint on Canvas

I chose this painting out of a person experience in my life, I served 6 years in the marine corps and have lost more friends and brothers in arms than I care to count. The artist painted this painting as a tribute to fallen warriors during the Afghanistan wars. This current painting brings nothing but tears to my eyes, and serves as a reminder to unify and connect us, that while we are home enjoying our freedoms, there are individuals fighting for the very freedoms we are taking for granted on a day to day basis.

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Korczak Ziolkowsi
Crazy Horse Monument
1948-Current
Mountain side

I chose to do something a little different for my art for personal taste. I chose to do a monument located in Custer South Dakota called Crazy Horse, which pays tribute to the Native Americans located in the area, multiple times the US government has attempted to pay to have the monument finished but the natives refuse to accept the money which is why the project is nearly 70 years and counting and still not finished which is another reason it isn't considered a national monument. The art piece arguably doesn't serve to connect or unify us, rather to give something to a group of individuals that had everything taken away from them. I grew up near the area where this sculpture is located, and was always fascinated by watching them shape the mountain side twice a year with dynamite, which turned into a big crowd and everyone from miles around watched.
(second picture attached to show what the alleged finished product will be)

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Artist: Vera Mukhina
Title: “The Worker and Kolkhoz Woman” (“The Worker and the Collective Farm Woman”)
Created: 1937
Material/Medium: Stainless Steel

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Artist: Kate Louise
Title: “Art Deco Miami Print”
Created: Between 2010 and 2021
Material/Medium: Digital (original) to A4/A3 Poster

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Artist: John Burke
Title: Unknown (Cover illustration for “Iron Sun: Crossing the Universe Through Black Holes by Aorian Berry”)
Created: 1970s
Material/Medium: Oil and possibly acrylic on canvas (converted to print)

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In 1937 Vera Mukhina was commissioned by the Soviet government to create a statue for the Soviet Union’s pavilion in the 1937 World’s Fair in Paris, France.  The statue is 78 feet tall and is made of stainless steel.  This statue symbolizes the young and strong people of the Soviet Union trudging ahead to build a great nation and communist utopia.  The statue is a beautiful example of art deco.  It is also considered socialist realism.  Back in 2003 when I worked for a fledgling internet startup company in Mountain View, California, I constantly had visions of this style of artwork representing the company.  The way the company manipulated the employees into thinking it was the greatest in Silicon Valley “because it is the strongest coming out of the tech bubble” was very similar to how Soviet leaders must have brainwashed their citizenry.  I can imagine how the proletariat must have been bullied by their foremen because we too were bullied with scare tactics and false accusations of inadequacy - especially when we refused to work 12-to-14-hour days for pay well below industry standard.  We were expected to stay on campus and eat company food, use the company fitness equipment, and the on-campus laundromat.  Sitting at my desk I often imagined a statue like this in front of the building, and a mural of a flag waving worker with dozens of followers behind him marching off into the sunset on the wall of the 2-story lobby behind the small man at the huge desk.  It was not a fun company to work for, but the story they told, the rewards they promised, and the future they painted was blissfully beautiful just like this statue of “The Worker and Collective Farm Woman.”  Ironically, the founders are Soviet ex-pats.

On the opposite end of the spectrum, we have Kate Louise’s print “Art Deco Miami.”  This is not an outstandingly sophisticated piece of art that contains all seven principles of art, nor contains every element of art, but it does have an elegant art deco motif, and brilliant pastel colors which I always enjoy.  Louise had several prints on her website, but this one has the right balance of background and foreground space, color compliment, and extremely clear definition of forms.  The print jumps out at me because it is so relaxing.  This piece stands for form follows function, simplicity, organization, and exudes a very positive ambience.  When I look at this piece, I imagine a happy society, clean environment to live in, and a safe place devoid of threats and anxiety.  Looking at how well maintained this property is, I hope all the citizens we cannot see in the print have the same amount of industry to keep their environment livable and enjoyable.

Putting the first category last, I chose John Berkey’s cover art for “art for arts sake.”  The year was 1979 (give or take) and the place was the Cincinnati Public Library.  I was hugely fascinated with black holes, which were becoming much better understood at that time, and I was standing in the science fiction section.  I looked at the covers of any book that had “black hole” in the title, and when I pulled this book off the shelf I was completely captivated by the cover art.  It is not a clear picture.  The artist, John Berkey, has a style of using wide, obvious brush strokes in his work.  This “painterly” style will become one of his signatures and remain in all his artwork throughout his career.  I checked the book out, but I actually spent more time looking at the artwork on the cover than reading the story.  I was old enough to know that even science fiction can cross the line, and the author of the book simply did not have enough knowledge of black hole physics to make his theory plausible.  The art piece is of a spaceship presumably using black holes to travel the universe since this is the theme of the book.  There is a plethora of planets all around the ship all with shadows on the same sides opposite a light source from “above” that we cannot see.  Highlighting of the planets, large and tiny, is excellent, and blending of “tails” of those objects that are in motion is also very well done and adds a sense of movement.  The con trail of the spaceship also gives a sense of movement but in an almost perpendicular direction of the moving planets.  The areas of gas and dust filled space (the dark blue areas of the background) are nicely blended with the space that is void of any sort of debris.  This artwork has stuck with me ever since those days and decided to look up the artist of this book.  It is no surprise that John Berkey did illustrations for science fiction writers Isaac Asimov, Philip K. Dick, and Robert Heinlein among many others.  He is also the creator of the iconic Star Wars (1977), and King Kong (1976) movie posters.  He created posters for Battlestar Galactica (1978) and some of the Star Trek movies as well.  He is considered one of the greatest science and science fiction illustrators of all time and received the Spectrum Award for Grand Master in 1999.  In addition, Berkey was inducted into the Society of Illustrators' Hall of Fame in 2004.

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TITILE:
Under the Wave off Kanagawa
YEAR:
1826–1836

MEDIUM:
Color woodblock print; oban
This piece by Hokusai to me is very iconic. It's the view of mount Fuji underneath the crest of a giant wave showing the beauty and danger of nature. I chose it because I really love pieces of nature that are beautiful and it makes me feel peace and also anxiousness as well. My sister actually has a reprint of this piece in her bathroom hanging on the wall and I always loved admiring the work.

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ARTIST:
Archibald John Motley Jr.

TITLE:
Nightlife
YEAR:
1943
MEDIUM:
Oil on canvas
While searching through the paintings and pieces through the art institute of chicago this piece really spoke to me with the beautiful colors and bright vibrant feeling it gives you. The feels it gives me is really happy and fun. It depicts a night in a crowded bar in the southside of neighborhood of Bronzeville and represents the African American culture. I believe it unifies people because everyone can relate to wanting to have a great night just like the one depicted in this piece and I definitely can relate to these kind of nights.

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TITLE: Tokyo Skyline With Mount Fuji At Night
YEAR:
MEDIUM: CANVAS PRINT
For my personal taste I've always loved skyline art. Something about skyline art that I really love and connect with. I feel like they're always beautiful and everyone can connect with this kind of art, especially if you're from that city. I believe you can tell the story of that city just by the scene of the skyline because you can see the grittiness and history of the city. Skyline art will always be one of my most favorite kind of art.

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1. Artist's name: Georgia O’Keeffe
2. Title of artwork: Blue and Green Music
3. Year it was created: 1919-1921
4. Material/Medium: Oil on canvas

The artist was aiming to "translate the idea of music into something for the eye". I think it is an interesting concept as not many painters incorporate sound or  approach creating a piece this way. The painting expressing a calm feeling with the color scheme and long strokes. As someone who likes listening to music, this piece intrigued me because I do not see many painters who try to present sound in a visual form.

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1. Artist's name: Thomas Waterman Wood
2. Title of artwork: A Bit of War History: The Contraband
3. Year it was created: 1865
4. Material/Medium: Oil on canvas

This painting was made at the end of the Civil War which presents an African American man eager to enlist into the military. I believe it serves to unify people. This is part one of three pieces that show this man's story serving in the military. I chose this piece as it is a part of a three part collection and the theme can be connected with today.

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1. Artist's name: Charles Demuth
2. Title of artwork: …And the Home of the Brave
3. Year it was created: 1931
4. Material/Medium: Oil and graphite on fiber board

This piece mixes architectural design, modern design, and cubism. I liked the sort of color block design painted on the building. I believe the painting is based off of American industries. The title is also taken from the last line of the “The Star-Spangled Banner”. I chose this painting as it stood out the most to me.

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The purpose of The Oblation statue made by Philippine National Artist Guillermo Tolentino, located at The University of the Philippines is to remind the “iskolar ng bayan” or scholars of the country or nation which refers to the students of the University to give back to their community and nation for the sacrifices that the Filipino people have made in order for them to be able to study. The reason why the University and the statue was established is because of the collective effort of the Filipino people to educate the generations to come. The University of the Philippines is a public university funded by the people of the Philippines and only the best of the best gets admitted. The university is where the country’s best scientists, academics, and artists are honed. I find the sculpture captivating because the human body in itself is beautiful. I really like the sculpture because it presents a man facing upward while stretching his arms, a symbol of “oblation” or sacrifice and of selfless offering for the country. The artwork aims to unify all students of the university and all Filipino people towards a common goal of liberating the Philippines through education. I relate with this artwork because I am familiar with it, I grew up seeing it because most of my cousins study in U.P. These cousins of mine are activists who are fighting for the rights of Filipino farmers who are often undercompensated and indigenous people like Lumads who are often subject of killings. They embody the spirit of The Oblation Statue. I chose the statue among all others because seeing the statue reminds me of home and reminds me of the  very reason I should pursue my education. Hopefully in the future, I can (will) be able to share what I have learned to help my home country.

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Artist's name: Sally Mann

Title of artwork: Three Generations

Year it was created: 1990

Material/Medium: Gelatin silver print; edition 3/25

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The purpose of this piece is to show the three stages of life within three generations, childhood, adulthood and Senior. This piece is beautiful in my eyes because it shows the beauty and rawness in each stage of life in these three generations. It is clearly showing how different each body is throughout it's generation, viewers are able to observer how flawless the childs skin is, while next to her we observe the beauty marks of possibly her grandma, wrinkles and scars that are gained throughout life. Then we can see the emotion in the adults eyes, the eyebags and frowning lips show the stress and seriousness of being an adult. I beleive she is the oly one clothed because being an adult comes with alot of criticism, professionalism and anxiety especially in women. This picture serves to connect and appreciate each other especially as we see the senior holding onto the little girl as if trying connect with the young generation. I think the story shown is just a mom, her young daughter and a grandmother in a generation photograph trying to show how valuable all the stages of life are and how they look. I chose this for beauty because it showed me how beautiful each stage of life is although not perfect each stage looks beautiful, it is important to appreciate our elders, one day we will look like them and experience what they do. As someone who thankfully still has two sets of great grandparents i can absolutely connect with them, ive cared for each of them multiple times throughout my life and growing up around theme how shown me the importance of staying connected with them. Elderly suffer extreme pain not only physically but mentally and emotionally, leaving them alone or not attempting connecting with them makes it worse.

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Art for the sake of expression spiritual/religious

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Art for the sake of expression spiritual/religious

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Artist's name: Giuseppe Passeri

Title of artwork: Saint Augustine and Two Angels Adoring the Crucifix

Year it was created: 1685–1695

Material/Medium : Pen and brown ink, heightened with lead white, over red chalk on cream laid paper, laid down on cream laid paper

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The purpose of this artwork is to recreate the event of Jesus' crucifix on the cross. In my eyes, this is beautiful because in my religion it represents sacrifice, reincarnation, and hope. Although it is a sad scene emotionally knowing the background information of what happens after this moment shows gives me a hopeful sense of life. This image serves to unify those who believe in Jesus and his sacrifice for the people, it shows how grateful believers should be for the pain Jesus endured. This image does tell a beautiful long story from how his mother was blessed with carrying Jesus, to all the miracles and faith he created, to his crucifixion and his resurrection. I chose this piece because it really spoke to me, it is not the same type of painting people always do to show Jesus crucifixion, the color scheme chose really caught my eyes. I can relate to this piece because my family is very religious and growing up in a church I learned to appreciate each piece, especially of his crucifixion. I've seen various paintings representing this moment in time in different ways but this one made me feel different in a good way because of the angel on the bottom left, it's beautiful.

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Artist's name: Diego Rivera

Title of artwork: Open Air School

Year it was created: 1932

Material/Medium: Lithograph in black on paper

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Artist: Winslow Homer
Title: The Bather
Year created: 1899
Material/ medium: Watercolor and graphite on off-white wove paper
I picked this particular piece for the art of beauty's sake for it's water colored based background and for its simplicity through a story it's trying to tell which I'm assuming is about a man struggling to get out the water yet is so mesmerized by the way it feels against his skin. He's recognizing it's beauty instead of the current situation he is in which is by being trapped by the sea.

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Artist: Not available
Title: Bronze man and centaur
Year created: mid-8th century B.C.
Material/ medium: Bronze
I picked the category for art of expressions through the tab 'sculptures' because I feel as if any type of sculpture is created through a story or time line behind it. I believe sculptures always have a hidden message. This one I feel expresses two individuals in a debate on opposite/ clashing personalities as the one seen on the left looks "normal" as the the person on the right is appears normal from the front yet is completely different from the back. What makes this most interesting is how the individual on the left isn't aware of that as they can only see this person from the front. They almost look as if they are complete strangers meeting for the first time.

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Artist: Antoine Watteau
Title: Head of a Man
Year created: ca. 1718
Material/ medium: Red and black chalk
I picked this work of art mainly because of the faint and concealed expression on this man's face. I mainly picked this piece because of how much I can personally relate to this as this is usually or majority of time how I feel. I feel emotionless yet happy and grateful and I believe this man conveys those emotions perfectly.

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1, Artist name: Vincent van Gogh
title: The bedroom
year:1889
Materials: oil on canvas
The purpose i chose this artwork is due to it catching my eyes. I enjoyed looking at this piece i can sense emotions of freedom and space surrounding this art piece. The Way he has structured a bedroom of some kind is amazing. He implemented every detail from a person perspective form the bed to the chair and windows. From the looks of this i can may well tell a story of a person that is at work and we get scene he lives in that bedroom and when coming back he might make some tea or just relax and go to bed we might not know.

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The Bedroom | The Art Institute of Chicago

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Artist name:Francisco de Zurbarán
title:The crucifiction
year: 1627
Material/medium:oil on canvas
The purpose of me choosing this painting was cause of representation of jesus on the cross. He is different I don't see the spike on his head that he is supposed to wear, and is sorta bald with a short beard then he is supposed to have. During take a longer time looking at this art piece i can see that this might represent a different type of crucifixion from the 1627 and their representation of jesus on the cross. We can get a story of how they see their representation of jesus on the cross and how much difference it could be.

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Artist's name: Georges Seurat (French, Paris 1859–1891 Paris)

Title of artwork: Study for "A Sunday on La Grande Jatte"

Year it was created: 1884

Material/Medium: Oil on canvas
The purpose of this artwork is to a peaceful place that people went to the park. They are sitting together with good weather that is why it's made in my eyes beautiful. In my opinion, he/she wanted to express emotion when people had a good time together. I think it connects to our lives because this painting has a lot of meanings that we can we enjoy in this life and doing good things.

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Artist's name: Sir Edward Burne-Jones (British, Birmingham 1833–1898 Fulham)
Title of artwork: The Love Song
Year it was created: 1868–77
Material/Medium: Oil on canvas
The purpose of this artwork is love. When I saw the color and design it's made my eyes beautiful. This painting has a love emotion or maybe has sad emotion. In my view, this artwork is painted with a romantic feeling and the scene suggests a mood dreamy melancholy. I chose this artwork because when I read about it, I thought this is a creative artwork that took a long time to complete. It's taken nine years to complete.

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Show this image

The Crucifixion

Date:

1627

Artist:

Francisco de Zurbarán
Spanish, 1598-1664

About this artwork

Beginning in the mid-sixteenth century, the Roman Catholic Church clarified and reaffirmed its doctrine and practices in an effort to combat the impact of the Protestant Reformation. This effort, known as the Counter-Reformation, recognized the educational and inspirational value of visual images and required artists to work in a style that favored clarity and dramatic fervor.

In 1627 Francisco de Zurbarán, then living and working in the provincial Spanish town of Llerena, painted this Crucifixion for the monastery of San Pablo el Real in prosperous Seville. In the dimly lit sacristy where it was installed, the image of Christ awed the faithful. A later commentator noted that it appeared to be a sculpture rather than a painting. Zurbarán envisioned the crucified Christ suspended outside of time and place. Conforming to Counter-Reformation dictates, the artist depicted the event occurring not in a crowd but in isolation. Emerging from a dark background, the austere figure has been both idealized in its quiet, graceful beauty and elegant rendering and humanized by the individualized face and insistent realism. Strong light picks out anatomical detail, the delicate folds of the white loincloth, and a curled scrap of paper at the base of the cross on which the artist's name and the date of the painting are inscribed.

Status

Currently Off View

Department

Painting and Sculpture of Europe

Artist

Francisco de Zurbarán

Title

The Crucifixion

Origin

Spain

Date

1627

Medium

Oil on canvas

Inscriptions

Signed and dated on a scrap of paper painted at the foot of the cross

Dimensions

290.3 × 165.5 cm (114 5/16 × 65 3/16 in.)

Credit Line

Robert A. Waller Memorial Fund

Reference Number

1954.15

IIIF Manifest

https://api.artic.edu/api/v1/artworks/80084/manifest.json

Extended information about this artwork

Antonio Palomino de Castro y Velasco, El Museo pictórico y escala óptica, vol. 3, El Parnaso Español pintoresco laureado (Madrid, 1724), p. 355; translated by Nina Ayala Mallory as Lives of the Eminent Spanish Painters and Sculptors (Cambridge, 1987), pp.184, 185 n. 8.

Antonio Ponz, Viaje de España, vol. 9 (Madrid, 1786), pp. 89-90; reprinted Madrid, 1947, p. 785.

D. Juan Agustín Ceán Bermúdez, Diccionario Historico de los más Ilustres Profesores de las Bellas Artes en España (Madrid, 1800), p. 50.

William Stirling[-Maxwell], Annals of the Artists of Spain, vol. 2 (London, 1848), p. 772; 2nd ed., London, 1891, p. 923.

José Gestoso Pérez, Ensayo de un diccionario de los artífices que florecieron en Sevilla desde el siglo XIII al XVIII inclusive, vol. 2 (Seville, 1900), pp. 124-125.

M. Gómez Imaz, Inventario de los cuadros sustraídos por el Gobierno insturso en Sevilla (año 1810), 2nd ed. (Seville, 1917), p. 141, no. 224.

José Cascales y Muñoz, Francisco de Zurbarán: su época, su vida y sus obras (Madrid, 1911), p. 36; translated by Nellie Seelye Evans, New York, 1918, p. 17.

Hugo Kehrer, Francisco de Zurbarán (Munich, 1918), pp. 18, 36-37.

Juan de M. Corriazo, "Correspondencia de don Antonio Ponz con el Conde del Aguila," Archivo Español de Arte y Arqueologia 5 (1929), p. 176.

Martin S. Soria, "Francisco de Zurbarán: A Study of His Style," Gazette des Beaux-Arts 6 ser., 25 (1944), p. 40.

Paul Guinard, "Los Conjuntos dispersos o desaparecidos de Zurbarán: Anotaciones a Ceán Bermúdez (II)" Archivo espanol de arte 20 (1947), pp. 193-94, 198-99.

José Milicua, "El Crucifijo de San Pablo, de Zurbarán," Archivo Espanol de Arte 26 (1953), pp. 177-186, pls. 1-4.

"Found and Lost," Time Magazine (4 April 1955), p. 83, ill.

Martin S. Soria, "Zurbarán's Crucifixion," The Art Institute of Chicago Quarterly 49, 3 (1955), pp. 48-49, ill.

Martin S. Soria, The Paintings of Zurbarán, 2nd rev. ed. (London, 1955), pp. 21, 30, 189, no. 225, pls. 20, 21.

"How Chicago Got Painting Lost to World for Century," Chicago Tribune (23 March 1955), p. 1, 3, ill.

"Chicago: Una Crocifissione di Zurbarán all'Art Institute," Emporium 122 (1955), pp. 88, ill. p. 89.

George Kubler and Martin Soria, Art and Architecture in Spain and Portugal and their American Dominions 1500-1800 (Harmondsworth, 1959), p. 244.

Paul Guinard, Zurbarán et les peintres espagnols de la vie monastique (Paris, 1960), pp. 141-42, 186-87, 219, no. 90, pl. 8.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 489, ill. p. 104.

Ramón Torres Martín. Zurbarán: El Pintor gótico del siglo XVII (Seville, 1963), pp. 88-90, 202, no. 28, fig. 24.

Kaspar H. Spinner, "Helldunkel und Zeitlichkeit: Caravaggio, Ribera, Zurbarán, G. de La Tour, Rembrandt," Zeitschrift für Kunstgeschichte 34 (1971), p. 175, fig. 3.

Mina Gregori and Tiziana Frati, L'opera completa di Zurbarán (Milan, 1973), p. 86, no. 23, pl. 1, fig. 23.

Jonathan Brown, Francisco de Zurbarán (New York, 1974), pp. 24, 66, pl. 4.

Julián Gállego and José Guidol, Zurbarán 1598-1664 (New York, 1977), pp. 16-17, 48, 68, 73-74, no. 8, fig. 12.

James N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Chicago, 1988), p. 27, ill.

Jeannine Baticle, "Découvrir Zurbaran," La Revue du Louvre et des Musées de France 37 (1987), p. 429.

Nina Ayala Mallory, "Notas criticas sobre la pintura de Zurbarán," Goya no. 201 (1987), p. 157, fig. 2.

Jonathan Brown, "Patronage and Piety: Religious Imagery in the Art of Francisco de Zurbarán" in Zurbarán, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 3-4.

Yves Bottineau, "On the Critical Fortunes of Francisco de Zurbarán: Reflections and Inquiries" in Zurbarán, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 25-26.

Jeannine Baticle, "Francisco de Zurbarán: A Chronological Review" in Zurbarán, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 55.

Nina Ayala Mallory, "Museum News: Zurbarán," Art Journal 47 (1988), p. 233.

Enriqueta Harris, Review of New York/Paris 1987/88 in Burlington Magazine 130 (1988), pp. 252-253.

Philippe Piquet, "Francisco de Zurbarán, une oeuvre paradoxale," L'Oeil, no. 390-391 (1988), p. 36.

Enrique Valdivieso, "Nouvelles perspectives sur Zurbarán: Les découvertes de l'exposition," La Revue du Louvre et des Musées de France 39 (1989), p. 19, fig. 2.

Dictionnaire de la peinture espagnole et portugaise du Moyen Âge à nos jours, ed. Jean-Philippe Breuille (Paris, 1989), p. 307.

Richard Mühlberger, The Bible in Art: The New Testament (New York, 1990), p. 126, ill.

Alfonso E. Pérez Sánchez, Pintura barroca en España (1600-1750) (Madrid, 1992), p. 189 (ill.).

Odile Delenda, Velázquez: peintre religieux (Paris, 1993), p. 108, fig. 36.

María Luisa Caturla, Francisco de Zurbarán, translated and revised by Odile Delenda (Paris, 1994), pp. 48, ill., 49, 278.

Alfonso E. Pérez Sánchez, La Pittura spagnola, vol. 2 (Milan, 1995), pp. 327, 331, fig. 389.

Victor I. Stoichita, Visionary Experience in the Golden Age of Spanish Art (London, 1995), pp. 70-74, 119, 204, fig. 14.

Claudie Ressort, "Francisco de Zurbarán" in The Dictionary of Art, vol. 33 (London, 1996), p. 729, fig. 1.

Sotheby's, Madrid, Pintura Antigua y de los siglos XIX y XX, 23 April, 1996, under no. 7.

Liudmila Kagané, Diego Velázquez (St. Petersburg, 1996), pp. 68, 70, ill.

Janis Tomlinson, From El Greco to Goya: Painting in Spain 1561-1828 (New York, 1997), pp. 69-70, fig. 42.

Odile Delenda and Luis Garraín Villa, "Zurbarán Sculpteur: aspects inédits de sa carrière et de sa biographie," Gazette des Beaux-Arts 6th ser., 131 (1998), pp. 125, 134, fig. 1, cover ill.

Jonathan Brown, Painting in Spain 1500-1700 (New Haven and London, 1998), p. 133, fig. 174.

Yves Bottineau, Vélasquez (Paris, 1998), pp. 120, 123, fig. 102.

Odile Delenda, "Precisiones sobre la vida y obra de Francisco de Zurbarán" in Zurbarán IV Centenario, exhib. cat., Museo de Bellas Artes de Sevilla, 1998, p. 16, fig. 10.

José Fernández López, "Pintura y contrarreforma en la Sevilla de Zurbarán" in Zurbarán IV Centenario, exhib. cat., Museo de Bellas Artes de Sevilla, 1998, pp. 38-39, fig. 34.

Odile Delenda, José Milicua et al., Zurbarán al Museu Nacional d'art de Catalunya, exhib. cat. Museu Nacional d'art de Catalunya, Barcelona, 1998, pp. 31, 88-92, ill., under no. 5.

Arsenio Moreno, Zurbarán (Madrid, 1998), pp. 10-11, 50-51, ill.

Alfonso E. Pérez Sánchez, "Zurbarán et Velázquez. Vies Parallèles et Divergentes," Gazette des Beaux-Arts 6th ser., 132 (1998), p.168, fig. 4.

Joël Cornette and Alain Mérot, Le XVIIe siècle. Histoire artistique de l'Europe, vol. 4, (Paris, 1999), pp. 195-96, ill.

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Alfonso E. Pérez Sánchez, "Zurbarán, Cano y Velázquez," in Zurbarán ante su centenario (1598-1998), ed. Alfonso E. Pérez Sánchez (Valladolid, 1999), p. 105.

Peter Cherry, Arte y Naturaleza: El Bodegón Español en el Siglo de Oro (Aranjuez, 1999), pp. 250-51 (English translation, p. 128).

Peter Cherry, "Seville and elsewhere, Zurbarán," Burlington Magazine 141 (1999), p. 130.

José María Palencia Cerezo, "La estela de Zurbarán en la pintura barroca cordobesa," Goya, no. 275 (2000), p. 68.

Zurbarán. La obra final: 1650-1664, exhib. cat., Museo de Bellas Artes de Bilbao, Bilbao, 2000, pp. 38-39, 41, 77-78, ill.

Enrique Valdivieso, Pintura Barroca Sevillana (Seville, 2003), p. 254, pl. 232.

Alfonso E. Pérez Sánchez and Benito Navarrete Prieto, De Herrera a Velázquez. El primer naturalismo en Sevilla, exhib. cat., Focus Agengoa, Seville, 2006, pp. 256-8, ill., under no. 57.

John B. Ravenal, "Notes on Black," in Carter Ratcliff, Donald Sultan: The Theater of the Object, New York, 2008. p. 25, ill.

Odile Delenda, Francisco de Zurbarán 1598-1664, vol. 1, Catálogo razonado y crítico (Madrid, 2009), pp. 37, 56, 96-98, fig. 1, 144, 298, 333, 370, no. 7, ill.; volume 2, Conjuntos y el obrador (Madrid, 2010), pp. 55-58, pl. 1.

Xavier Bray, "The Sacred Made Real: Spanish Painting and Sculpture 1600-1700" in The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, exhib. cat., National Gallery, London, 2009, pp. 15,18, 32, 34, 40, figs. 1, 19, 22.

Alfonso Rodríguez G. de Ceballos, "The Art of Devotion: Seventeenth-century Spanish Painting and Sculpture in its Religious Context" in The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, exhib. cat., National Gallery, London, 2009, p. 49.

Rosemarie Mulcahy, Review of London 2009/2010 in Burlington Magazine 152 (2010), pp. 50, 51.

Karin Hellwig, "Theory and Practice: The Fine Arts in Seventeenth-Century Spain" in El Siglo de Oro: Die Ära Velázquez, exh. cat., Gemäldegalerie, Staatliche Museen zu Berlin (Berlin, 2016), pp. 36-37, fig. 8.

Steven F. Ostrow, "Zurbarán's Cartellini: Presence and the Paragone," Art Bulletin 99 (2017), pp. 77-83, 93, 94, fig. 11.

Chicago, Art Institute of Chicago, The Art of the Edge: European Frames 1300 - 1900, October 17- December 17, 1986, no. 30.

New York, Metropolitan Museum of Art, Zurbarán, 22 September - 13 December 1987, no. 2; Paris, Galeries National du Grand Palais, January 14 - April 11, 1988, no. 1.

London, National Gallery, The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, October 21, 2009 - January 24, 2010, no. 25; traveled to Washington, D.C., National Gallery of Art, February 28 - May 31, 2010.

Painted for the sacristy of the Dominican monastery San Pablo el Real, Seville; placed on deposit at Palacio Real, Seville, on the order of Joseph Bonaparte, King of Spain, 1810 [see M. Gómez Imaz, 1917, p. 141, no. 224]; acquired by General Jean Toussaint Arrighi de Casanova, Duc de Padoue (died 1853) shortly thereafter [as recounted by his son to Father Stanislas Du Lac, S.J.; see letter from Father Du Lac to Father Paul Troussard dated 16 February 1901 and preserved at the Bibliothèque Sèvres, Paris, copy in file]; by descent to his son, Ernest Louis Hyacinthe Arrighi de Casanova, 2nd Duc de Padoue, given by him to Father Stanislas Du Lac S.J. (died 1909), rector of the Collège Saint Geneviève, Paris, 1876 [see letter cited above; Father Du Lac explained that he received the painting in thanks for his spiritual assistance to the duke's wife]; probably taken by Father Du Lac to St. Mary's College, Canterbury for the period between 1880 and 1890 and likely remained at Canterbury when St. Mary's College was replaced by a Jesuit school for noviciates; it was apparently moved from Canterbury to Laval along with the Jesuit novices' school in 1897 and was in Laval in 1901 [see letters from Jacqueline Diot and Father Du Lac in curatorial file]; transferred from Laval to the Jesuit seminary of Saint Louis at Jersey [see note with Du Lac letter]; transferred with the seminary to Chantilly in 1951 [see undated typewritten notes in curatorial file]. Dr. H. F. Fankhauser, Basel, 1952 [See Baticle in New York, 1988]; sold to the Art Institute, 1954.

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The Crucifixion | The Art Institute of Chicago

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Show this image The Crucifixion 1627 Francisco de ZurbaránSpanish, 1598-1664 Beginning in the mid-sixteenth century, the Roman Catholic Church clarified and reaffirmed its doctrine and practices in an effort to combat the impact of the Protestant Reformation.