1. Global Prehistory 30,000-500 BCE 5. Bushel with...

1. Global Prehistory 30,000-500 BCE 5. Bushel with ibex motifs. Susa, Iran. 4200-3500 BCE. Painted terra cotta.

UMFA1981.089 Pot. Mesopotamian (Iran). 1200-1000 B.C.E. earthenware , slip. h: 7.5 in, diam: 8 in. Grey bowl with a single handle. Small base that flares out into a wide bulbous body, tappering into a wide neck with a thin rim. Incised double banding breaking the pot up into thirds. Neck decorated with a cross hatched lattice design that is lightly etched into th esurface. A double coil handle is attached to the side.

content area image #/info image from test UMFA object image UMFA object info2. Ancient Mediterranean 3500 BCE-300 CE 15. Seated Scribe. Saqqara, Egypt. Old Kingdom,

Fourth Dynasty. C. 2620-2500 B.C.E. Painted limestone.

UMFA2000.9.1 Bound Man : Man standing with arms straight behind back bound at the wrists. The figure wears a white loincloth. His black hair is worn below the ears at the sides and back with straight bangs on the forehead. The face has been rebuilt (material unknown) with recut features. The whole body leans forward at the ankles. Brown skin with details of costume and spaces between fingers and toes painted black. Glued and nailed to an unfinished wood base.

2. Ancient Mediterranean 3500 BCE-300 CE 18. King Menkaura and queen . Old Kingdom, Fourth Dynasty. C. 2490-2472 B.C.E. Greywacke.

UMFA1958.001 Limestone Wall Relief: Relief shows seven men carrying a nobleman on their shoulders. Script surrounding men is interpreted to be words spoken by the foremen. Limestone is defaced and eroded with a large crack running vertically through the relief.

2. Ancient Mediterranean 3500 BCE-300 CE 22. Akhenaton, Nefertiti, and three daughters. New Kingdom (Amarna), 18th Dynasty. C. 1353-1335 B.C.E. Limestone.

UMFA1952.143 Table of Offering Egyptian Middle Kingdom: Offering table with a prayer to Osiris carved around the edges in hieroglyphs. On table various food and drink items are represented including an ox leg, ribs, bread, plate of figs, and water and wine containers. Table was part of funerary furniture for a tomb and it was to provide food for the spirit in the afterlife

2. Ancient Mediterranean 3500 BCE-300 CE 23. Tutankhamun's tomb, innermost coffin . New Kingdom, 18th Dynasty. C. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones.

UMFA1952.131 Ushabti: (A) Unusual ivory glaze Ushabti with flesh colored hands and face. White clothing with black design. This Ushabtis like others of the New Kingdom were built and decorated by hand. Wrapping around the front part of the body is a spell from the Book of the Dead in Hieroglyphic form. Within the spell is the name and function of the statuette's owner, the scribe Nebre. Nebre was an outline artist of the 19th-20th dynasty, responsible for providing drawings for reliefs or hieroglyphs for inscriptions. Once he was finished with his duty, the carver would carve out the relief or inscription.

UMFA2008.17.1A,B Anthropoid Sarcophagus: Egyptian wood anthropid sarcophagus comprising two components: (A) base and (B) lid. Painted face with false beard and tripartite striped wig, the body painted black with hieroglyphs in yellow. The coffin belonged to a man named Padiusir, a common name which signifies 'He whom Osiris has given'. His name is written several times on the front and back of the coffin.The Coffin presents Padiusir in a black wig with yellow and green strands. A false black beard with yellow horizontal stripes is attached to the chin. These stripes continue on both sides between the wig and beard, suggesting a necklace. Below the beard and wig a rather large Usekh collar rests on his chest. The collar is done in yellow to imitate gold. It is a semicircular collar made up of six sections of decorated sections separated by grid lined areas. The decorated sections consists (in order from top to bottom): A pin wheel section, tear-drops, lotuses with red leaves, another pin wheel section, an abstract shape, and another tear drop section. This collar ends at the shoulders with a falcon heads of the God Horus. Below the collar is the Goddess Isis with outstretched wings and a sun disk on top of her head. She holds in

2. Ancient Mediterranean 3500 BCE-300 CE 24. Last Judgement of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. C. 1275 B.C.E. Painted papyrus scroll.

UMFA1952.133 Painted Limestone Stele: Arched top rectangular form. Two registers depicting two separate ceremonies. Upper register the man and his wife are shown worshipping and making offerings before Osiris. Man's flesh color is red, woman's is yellow, and Osiris' is white. Lower register man and wife are offered lotus flower by older son in the presence of three sons and two daughters. Osiris wears the composite crowns of upper and lower Egypt, and holds a flail and shepherd's crook. Overlooking the two ceremonies from the top- most arched portion are the enternal eyes of the sun god Ra.

2. Ancient Mediterranean 3500 BCE-300 CE 33. Niobides Krater . Anonymous vase painter of Classical Greece known as the Niobid Painter. C. 460-450 B.C.E. Clay, red-figure technique (white highlights).

UMFA1970.006.153 Amphora depicting "Temple with warrior paying respects to deceased man": Red figure amphora, badly broken, parts missing, mainly around the neck. Primary (obverse) panel seated bearded man and standing warrior in naiskos to PR seated youth with ros- ette chain; standing woman with cista and fillet; on PL seated woman with open box, youth bending forward with flower and wreath. Secondary (reverse) two youths and two women at a stele with kylix on top. Greek key, palmette and vine designs above and below figures.

UMFA1990.001.001 Black-Figure Neck-Amphora: The UMFA amphora is decorated with two scenes, one of war and one of peace. On the front, two warriors clash together with spears while a fallen man lies between them. In Homer's epic poem, the Iliad, a Greek or Trojan hero would sometimes steal the armor or hold the body for ransom after killing an opponent. A comrade of the slained man then fought the victor to stop the act. Although the three men in this scene are not named, some speculate it is the Greek Achilles fighting the Trojan ally Memnon over the Greek Antilochos. That battle was a popular scene on black-figure-ware vases in the 6th century B.C. On the reverse side(not shown), the Greek god Apollo is the center figure. He is playing a kithara or lyre, an ancient Greek musical instrument and symbolic of his role as god of music. Facing him is his twin sister, the goddess Artemis. An animal sacred to Artemis, the deer, grazes at her feet. Leto, the mother of the two gods, stands left to Apollo. She holds in her hand a laurel branch, another symbol of Apollo. The clear and skillful treatment of the figures is done in the manner of the Antimenes Painter, who was one of the most innovative black-figure vase painters of the late sixth century B.C.

UMFA2000.8.1 Attic Red Figure Kylix Thalia Painter (manner): Kylix form: wide shallow bottom bowl on pedestal base with two loop handles. Predominantly black with red designs showing throguh black surface. Bottom center: tondo depicting a man wearing a cloak holding a club in his left hand looks over his shoulder. A narrow band decorates the inside edge of the rim Under the rim designs on each sided of the handles bracketed by palmettes. First design depicts two nude men (komasts) playing a game (?) employing three funnel shaped objects. The second design depicts a herdsman with a bull. A thin line terminates the bottom edge of the design. A wide band decorates the edge of pedestal foot. The square cornered loop handles have a dark line around the outside edge.

2. Ancient Mediterranean 3500 BCE-300 CE 36. Grave stele of Hegeso . Attributed to Kallimachos. C. 410 B.C.E. Marble and paint.

UMFA1978.484 Grave Stelae: Upper left section Phrygian style grave marker for Roman male of unknown age. Figure has hand in toga resting his hand on his chest. To the left of the figure are four words in classical Greek. To the the right are five letters for words on missing piece of fragment. Below figure are a partial horsehead and body.

2. Ancient Mediterranean 3500 BCE-300 CE 37. Winged Victory of Samothrace . Hellenistic Greek. C. 190 B.C.E. Marble.

UMFA1991.016.001 Hermes of the Andros - Belvedere Type: Bust of an athletic young man (style of a funerary or votive statue) known as the Hermes of Andros or the Hermes of Belvedere. Nose and a portion of the lip have been broken away. Remaining restored section of nose may be ancient. The patch in forehead locks and restyled eyes date to Renaissance. Drilled hair suggests a date in the Antonine Period A.D. 160 to 190. Irregular break at neck with triangular cutting and remains of a hole for lead pouring or doweling at the rear base of the neck.

UMFA1990.014.001 Aphrodite with Eros on a Dolphin at Her Side: Originally a great fertility goddess, Aphrodite became the Greek goddess of both carnal and ideal love. Ancient representations of her were noted for their sensuality--the nude Aphrodites by Praxiteles were said to have shocked the pious residents of Cos, the Greek island that was home to the original statue. The UMFA's later Roman Aphrodite displays just such a voluptuous, human presence appropriate to one who loved mortals as well as gods. The dolphin at the figure's lower right reminds us that Aphrodite was born of the sea; the baby Eros is another representation of love. The missing head may have borne a resemblance to a family member of the statue's patron as a pretense to a divine lineage.

2. Ancient Mediterranean 3500 BCE-300 CE 40. Alexander Mosaic from the House of Faun, Pompei i. Republican Roman. C. 100 B.C.E. Mosaic.

UMFA1990.039.001 Mosaic Pavement Panel: Rectangular section of small tile pieces in black, white, grey, yellow, and two shades of red, Tiles are laid in geometric pattern of interlaced banded, multicolored ribbons laid in a lime mortar matrix the whole is encased in con- crete reinforced with steel.

2. Ancient Mediterranean 3500 BCE-300 CE 47. Ludovisi Battle Sarcophagus . Late Imperial Roman. C. 250 C.E. Marble.

UMFA1989.005.002 Sarcophagus: The deceased is depicted on this sarcophagus, or coffin, at the moment of his entrance into eternal life. He is the highly individualized central figure carved inside a ring shape, as if he were immortalized on a coin. The scroll in the deceased's left hand suggests that he was a scholar, and two theater masks below imply an interest in the arts. The four amorini (cupids), one pair winged and one not, represent the Four Seasons and thus the inevitable passage of time. The peacocks feeding from baskets are symbolic for immortality because ancients believed that the peacocks' flesh never decayed. The symbols of this sarcophagus are similar to those on a coffin in the Villa Doria-Pamphili in Rome made between A.D. 260 and 280

3 Early Europe and Colonial Americas 200-1750 CE 81. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain, c. 1541-1542 CE. Pigment on paper.

Special Collection Department at the J. Willard Marriott Library has several facsimilies of Mesoamerican Codices. You can visit the Reading Room with your classes if you schedule in advance. Codex Mendoza call number: Marriott Library Special Collections LVL 4: Rare Books (F1219 .C69 1978)

3 Early Europe and Colonial Americas 200-1750 CE 86. Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle. Peter Paul Rubens. 1621-1625 C. E. Oil on canvas

UMFA1951.015 The Virgin Nursing the Christ Child Peter Paul Rubens (studio): Peter Paul Rubens was one of the greatest painters of the Baroque, a style of exuberance, drama, and color. Rubens enjoyed success not only in his native Flanders, but also in the aristocratic circles of Spain, France, and Italy. He traveled to Italy to study the work of Michelangelo, Raphael, Titian and Tintoretto, mastering their flair for color and composition. When he returned to Antwerp around 1608, he was in such demand that he soon had to employ many assistants who copied his originals or created paintings under his direction with a few touches added by his own hand. Like other artists, Rubens understood that orthodox Christianity of the time declared Jesus to be both God and man. Displaying the Christ Child's naked body was a way of confirming his human-ness. Mary is depicted here nursing her son, which emphasizes her role as a human mother to a human son. But it is interesting that Rubens chose to show the Madonna feeding the Christ Child by squirting milk from her breast. This combines the Christian image of the nursing Virgin with a story from classical mythology, the Origin of the Milky Way. In this myth Hera, wife

3 Early Europe and Colonial Americas 200-1750 CE 87. Self-Portrait with Saskia. Rembrandt van Rijn. 1636 C.E. Etching.

UMFA1992.053.002 Joseph and Potiphar's Wife Rembrandt Harmensz van Rijn: Woman, largely nude, bed clothes pulled up, laying sideways on a canopied bed diagonally in the picture. She is reaching out holding on to the clothes of a man. He is pulling away, head turned to dexter side. Chamber pot visible under edge of the bed. Trimmed edges. Deep plate marks. plate edge: h: 3 1/2 x 4 3/8 in, w: 4 1/2 x 5 1/4 in etching , laid paper

3 Early Europe and Colonial Americas 200-1750 CE 90. Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School ) 17th century

UMFA 1990.048.001 Francesco Solimena, Death of Saint Joesph, Italian, ca. 1698-1700, h: 75 1/8 in x w: 66 3/8 in; frame: h: 86 9/16 in x w: 78 5/16 in x l: 4 in. oil on canvas.

Aged Saint Joseph lies on his deathbed. Jesus (PR) cradles Joseph's head; Mary in center looks on. Angels Gabriel and Michael, in armor sword on shoulder, stands in (PL) picture. Third angel holding a censer kneels at Joseph's feet. Three pairs of cherubs hover above. Strong shaft of light illuminates the scene from picture right. Gilt molded decoration. This large altarpiece is painted on the typical red ground of the period. The flesh tones have become more transparent with age.

3 Early Europe and Colonial Americas 200-1750 CE 92. Womand Holding a Balance. Johannes Vermeer.c. 1664 C.E. Oil on canvas

UMFA1983.211 An Oyster Feast (Het Oestermaal), after Jan Steen Petrus Johannes Arendzen: The painting by Jan Steen, which this print reproduces, belonged to the collection of Lord Francis Pelham Clinton Hope. When C. Hofstede de Groot produced his folio edition "Hollandsche Kunst in Engelsche Verzamelingen" and commissioned Petrus Arendzen to copy Old Master paintings in English collections, he not only documented Dutch art in foreign collections, but also catered to collectors of limited means interested in owning reproductions of famous paintings. (In the obituary that appeared in The Connoisseur (91 [1933]: 125), Arendzen was described as "an etcher and portrait painter whose plates after works by the Old Masters used to be well known. Many of them were shown at the Royal Academy [in London] where he commenced to exhibit in 1890.") Arendzen, a Dutch etcher and engraver who moved to London in 1887, created signed etchings on wove paper for all the paintings included in Hofstede de Groot's volume. (Besides Jan Steen's work, Arendzen produced etchings after paintings by the following artists for this book: Frans Hals, Rembrandt van Rijn, Pieter de Hooch, Jan van Goyen, Johannes van de Cappelle, Aelbert Cuyp, Johannes Vermeer, Adriaen and Isaack van Ostade, Ferdinand Bol, Paulus Potter, Adriaen van de Velde, Gabriel Metsu, Meindert Hobbema, Jacob van Ruisdael, and Aert van der Neer.) It appears that Arendzen's etchings were used to produce inexpensive

3 Early Europe and Colonial Americas 200-1750 CE 95. The Virgin of Guadalupe (Virgen de Guadalupe) Miguel Gonzalez ca. 1698 CE.

UMFA 2004.26.7 Virgin de Los Dolores, Mexico, painting on tin; h: 13 7/16 in x w: 10 in;

content area image #/info image from test UMFA object image UMFA object info4. Later Europe and Americas 1750-1980 CE

101. The Swing . Jean-Honore Fragonard. 1767 C.E. Oil on Canvas

UMFA1993.034.013 Mademoiselle Marie-Madeleine Guimard (Tête de femme au miroir) (Woman Looking in a Mirror), ca. 1772 by Jean Honore Fragonard: Portrait of Mademoiselle Marie Madeleine Guimard. Large, half-length, slightly 3/4 portrait of a woman, seated, with a rose garland, and a large mirror in her lap. Light-blue background. Drapery from woman's costume piling up behind her at proper right. Rose garland holds her hair back from her face and trails down and forward, across both shoulders and into her lap. Her gaze is directed toward mirror in her lap. Oval canvas. Elaborate gilt frame: 3" wide x 2 1/2" deep.

4. Later Europe and Americas 1750-1980 CE

103. The Oath of the Horatti . Jacques-Louis David. 1784 C.E. Oil on Canvas

UMFA1981.084 Anacreon, Sappho, Eros and a Female Dancer Etienne de Lavallee: Neoclassical. Three figures, one marble statue chair. oil on canvas. French


104. George Washington . Jean-Antoine Houdon. 1788-1792 C.E. Marble

UMFA1956.011 Benjamin Franklin - Jean Antoine Houdon: Bronze bust on a marble base. h: 13 3/16 in x w: 11 3/8 in x d: 8 11/16 in; with base: h: 19 3/8 in. American

UMFA1986.055 George Washington - Jean Antoine Houdon: Marble bust. No stand or base. h: 21 3/4 in x w: 14 3/4 in x d: 12 1/8 in. American


105. Self Portrait . Elisabeth Louise Vigee Le Brun. 1790 C.E. Oil on Canvas.

UMFA1993.034.014 Portrait of Princess Natalia Ivanovna Kourakina nee Golovina - Marie Louise Elisabeth Vigee-Lebrun: Portrait of a seated woman turned to PL, smiling slightly directly at the viewer as she leafs through a book of music propped up on other books and a table. Her PL left hand rests on a page; her PR hand is about to turn a page. She has dark, curly hair, wears a blue and gilt turban wrapped over her hair and fastened with a pin coming out of the top of the turban, a full red dress with a white scarf collar, a necklace, a colored fabric belt, and a blue wrap decorated with a narrow band of flowers around the PR shoulder and her PL arm. She looks directly at viewer and smiles slightly. Background is a brownish color. sight size: h: 33 in x w: 27 3/4 in; frame: h: 44 3/4 in x w: 39 1/2 in x l: 4 in. French

UMFA1994.017.015 Princess Eudocia Ivanovna Galitzine (nee Ismailoff) as Flora - Marie Louise Elisabeth Vigee-Lebrun: Vigee le Brun was one of the most remarkable painters of eighteenth-century France. She mastered a virtuoso neo-classic style, became favored painter to Queen Marie Antoinette, was elected to the Academie Royale against the protests of its members, was welcomed as a dignitary in court circles across Europe, and amassed a personal fortune. Identified with the political ideology of the ancien regime, Vigee le Brun fled Paris as members of her once-powerful social circle met with the guillotine during the French Revolution. For the next twelve years she worked in Italy, Austria and Russia, where both the UMFA's portraits were painted. Her tremendous popularity and insistence on representing her own tastes did much to disseminate both the neo-classical and the romantic ideal in portraiture. Both portraits exhibit Vigee le Brun's polished craftsmanship as well as reveal influential sources. Her admiration for Raphael's Madonnas led Vigee le Brun to drape female sitters in brilliantly-colored shawls. Supple flesh tones and luminous paint quality were derived from Rubens. However, Vigee le Brun could be innovative and fanciful without being tied to either influences or conventions. As much as any of her contemporaries, the paintings of Vigee le Brun eloquently evoke both the refinements and the irrepressible romantic energy of her era. Princess Eudocia Ivanovna Galitzine as Flora is included in an article on Vigee le Brun's Russian portraits published by Lada Nikolenko in 1967. Both paintings are discussed by Mary D. Sheriff in a recent publication that includes a number of works from the Browning Collection (Muller, Sheila D., ed., The Val A. Browning Collection: A Selection of Old Master Paintings, 2001,


106. Y no hai remedio (And There's Nothing to Be Done), from Lose Desastres de la Guerra (The Disasters of War), plate 15 . Franciso de Goya. 1810-1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing.

UMFA1966.002 Los Exhortaciones (The Exhortations) - Francisco Jose de Goya y Lucientes: h: 8.5 in, w: 12.75 in. aquatint , etching , wove paper. Spanish

UMFA1999.3.2 Pobrecitas! (Poor Little Things!), 1799, Plate 22 - Francisco Jose de Goya y Lucientes: Two young women with bowed heads completely covered by shawls stand together to one side. Next to them to proper-right is a man wrapped in a cloak and a bicorne hat. Another man obscured in the shadows stands behind the girls. A wall with the lower portion of an arch is behind the girls. Printed on laid paper in sepia-colored ink. Plate mark visible around the edge of the print. Series: plate 22 from "Los Caprichos". Edition: first. plate edge: h: 8 1/2 in x w: 6 in; mat window : h: 9 in x w: 6 1/4 in; mat : h: 17 1/2 x w: 12 3/8 in. etching , aquatint , laid paper. Spanish


107. La Grande Odalisque . Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on Canvas

UMFA1974.004.007.002 (image not available) Les Quatre Magistrats de Besancon (The Four Magistrates of Besancon), 1825, from Voyage en Franche-Comte by Baron Isidore Justin Severin Taylor (1789-1879) - Jean Auguste Dominique Ingres: lithograph , wove paper. image: h: 7 3/8 in x w: 7 1/2 in; sheet: h: 10 in x w: 12 7/8 in. French


108. Liberty Leading the People . Eugene Delacroix. 1830 C.E. Oil on Canvas.

UMFA1973.024 Lion devorant un cheval, 1844 - Eugene Delacroix: lithograph , wove paper. image: h: 6 5/8 in x w: 9 1/4 in; sheet: h:12 1/4 in x w: 7 1/4 in. French.

UMFA1975.075.009.008 Mephistopheles Introducing Himself to Marguerite - Eugene Delacroix: lithograph , wove paper. image: h: 9 1/2 in x w: 8 in; sheet: h: 18 3/4 in x w: 12 in. French


109. The Oxbow (View from Mount Holyoke, Northhampton, Massachusetts, after a Thunderstorm) . Thomas Cole. 1836 C.E. Oil on Canvas.

UMFA1986.016 Pastoral Landscape with Fisherman - Thomas Cole: The landscape paintings of Thomas Cole are not literal transcriptions of nature. For Cole, God was immanent in Nature; to contemplate Nature was to commune with the mysteries of creation. This reverential attitude toward the wilderness led Cole to practice a form of picturesque romanticism. Painted prior to his European trip of 1829-32, Pastoral Landscape with Fishermen is a formidable achievement for an artist approximately twenty-six years old. Here, the vastness of creation is suggested by the distant hills, and its inherent beauty enhanced by the artist's use of translucent glazes. The theme of eternal regeneration is symbolized by the barren, dead tree at the left of the picture balanced by a mass of shimmering leaves at the right.


111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming on) . Joseph Mallord William Turner. 1840 C.E. Oil on canvas.

UMFA1953.004 Woodland Pool - Narcisse Virgile Diaz De La Pena: h: 17 1/2 in x w: 21 5/8 in; frame: h: 26 1/4 in x w: 30 3/16 in x l: 2 3/4 in. Oil on Panel. French


112. Palace of Westminster (House of Parliament). London, England. Charles Barry and Augustus W.N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass.

UMFA1999.28.293-.295 "Westminster Abby" - Unknown: One of various photographs contained within a black, leather bound album of various photos. Photo shows interior of Westminster Abby. A wall with ornate decorations and sculptures and a mural in the center. albumen process , contact printing , large format camera


113. The Stone Breakers . Gustave Courbet. 1849 C.E. (destryoed in 1945). Oil on canvas.

UFMA1951.004 Portrait of Winifred Kimball Hudnut - Paul Joanowitch: Portrait of Mrs. Winifred Kimball Hudnut executed in the style of academic realism. The background is the outside of her Chateau on the French Riveria with sculpture of Cupid. She is holding one dog while four dogs of different colors are at her feet.h: 82.625 in, w: 50.5 in. Serbian


114. Nadar Raising Photography to the Height of Art . Honre Daumier. 1862 C.E. Lithograph.

UMFA1972.048.002.001 (image not available) Le malade - Honore Victorin Daumier: French. image: h: 7 7/8 in x w: 6 1/4 in; sheet: h: 11 1/2 in x w: 8 3/4 in. Lithograph

UMFA1968.005.005.002 Une nouvelle maniere de descendre le fleuve de la vie (A New Way of Descending the River of Life), Plate 3, 1835 - Honore Victorin Daumier: French. Color Lithograph. image: h: 7 7/8 in x w: 10 in; sheet: h: 9 7/8 in x w: 13 3/8 in

UMFA1973.028; UMFA1981.007.005;


115. Olympia . Edouard Manet. 1863 C.E. Oil on canvas.

UMFA1977.056 Polichinelle - Edouard Manet: French. Lithograph. image: h: 18 3/4 in x w: 12 3/16 in; sheet: h: 20 7/8 in x w: 13 7/16 in


117. The Horse in motion . Eadweard Muybridge. 1878 C.E. Albumen print.

UMFA 1987.037.005 Animal Locomotion, Plate 272 - Eadweard Muybridge: gelatin silver process. h: 11 1/2 in x w: 10 in. 1887


118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de Mexico desde el Cerro de Santa Isabel) . Jose Maria Velasco. 1882 C.E. Oil on canvas

UMFA1993.034.017 Souvenir des environs de Boissy-Saint-Leger (The Countryside at Boissy-Saint-Leger) Jean Baptiste Camille Corot: Horizontal format. Landscape with road leading to small village in the hazy center background. Large tree PL foreground, a smaller tree at PR. In foreground PR, two small female figures in floor-length peasant clothing, perhaps a mother and a child. Loose brushwork with cool, subdued colors.sight size: h: 14 5/8 in x w: 24 1/2 in; frame: h: 23 1/8 in x w: 32 7/8 in x l: 3 in. Oil on canvas. French


120. The Starry Night . Vincent van Gogh. 1889 C.E. Oil on canvas

UMFA1980.169 The Whirlpool Naruto in Awa Province, after Hiroshige Unknown: Japanese woodcut composition style. Marks after Hiroshige.


121. The Coiffure . Mary Cassatt. 1890-1891 C.E. Drypoint and aquatint.

UMFA1974.030 Etude (Study of Two Women) Maruice Denis: sight size: h: 11 5/8 in x w: 18 5/16 in; frame: h: 19 1/4 in x w: 25 3/4 in x l: 2 in. Oil on panel. French.

UMFA1984.146 Margo (also called Jeanette) Wearing a Bonnet (No. 1) Mary Cassatt: Vignette of a girl wearing a bonnet.print: h: 9 in x w: 6 5/16 in; sheet: h: 13 1/2 x w: 9 1/8 in. American. Drypoint.


125. Mont Sainte-Victoria . Paul Cezanne. 1902-1904 C.E. Oil on canvas.

UMFA2006.39.1 La Maison de la nanette a Crozant Armand Guillaumin: Rural townscape, with a tree rising from the middleground, bisecting the composition. On the left, a building extends away from the tree in a slightly upward diagonal direction. A large cross topping a monument-type pedestal stands at the rear of the building, next to the tree. Smoke rises from the chimney above. A lone figure in black walks away from the cross slightly toward the viewer. On the right side of the composition, a road extends into the distance, lined on the right by a series of buildings. Another road branches sharply off to the right in the middleground, separating one building from those further in the distance. Two women walk toward the viewer just beyond and to the right of the tree. The light in the sky implies very early morning. The style of the work is impressionistic, with loose, free brushwork. Most of the hues are earthen and darker, with lighter colors reserved for the sky.

UMFA1973.011 (image not available) Portrait du peintre A. Guillaumin au pendu, 1873 Paul Cezanne: plate edge: h: 6 1/4 in x w: 4 1/2 in; sheet: h: 10 in x w: 7 1/2 in. etching. French.


126. Les Demoiselles d'Abignon . Pablo Picasso. 1907 C.E. Oil on Canvas

UMFA1969.002.001.008 Modele contemplant un group sculpte (Model Contemplating a Group of Sculptures), from the Suite Vollard series, 1933 Pablo Picasso: Etching from Vollard Series Suite. Nude female kneeling by a window viewing sculpture of 5 nude figures and a rearing stallion. Vase with 3 flowers at lower left of sculpture.

UMFA1974.013.014.009 Femme au bord de la mer (Woman by the Seaside), 1924 Pablo Picasso: Catalogs Block 67, Geiser 237 and Mourlot XVII. From the edition of 25, #17?, on white Van Gelder Hollande paper. Total edition of 50, the latter 25 printed on tinted wove paper. Seated nude female figure in a landscape. Her left leg is draped and on it rests her left arm. She turns 3/4 to the viewer and leans upon a block-like structure.

UMFA2002.26.2 Pitcher Pablo Picasso: Porcelain ceramic pitcher combining drawing, paintings and sculpture of a woman in a steel blue and black glaze cape and choker. Her cape is falling open to show her bare breasts and belly. Her coiffure and the shape of her eyes and brows suggests she is an ancient Greek or Roman. The pitcher is treated as a figurative sculpture with her head as the top of the pitcher to the lip. Her body is the rest of the piece excluding the lip. A pattern of blue lines is painted on the inside of the lip and pattern of blue dots alternating with black lines viscerally appear mediteranean. The glaze on the outside of the pitcher is matte, inside the pitcher the glaze is glossy.


127. The Steerage. Alfred Stieglitz. 1907 C.E. Photogravure.

UMFA1991.034.004 (image not available) The Orphan August Friedrich Albrecht Schenck: From Paris Exposition, 1889. Fair/poor condition. PC dead female sheep with orphaned lamb, surrounded by vultures. photogravure , paper , oil-based ink

UMFA2007.33.43 Alfred Stieglitz at An American Place, New York. 1946. Todd Webb. American. Gelatin silver print. h: 6 1/2 in x w: 4 9/16 in.


130. The Portuguese . George Braque. 1911 C.E. Oil on Canvas

UMFA1977.069 (image not available) Brown Bird and Black Leaves Georges Braque: Brown bird in upper part of print. Black leaves across bottom of print. Explanation of artist's work on verso.


131. Goldfish . Henri Matisse. 1912 C.E. Oil on Canvas

UMFA1975.079.016.001 (image not available) Rondeau Henri Matisse: Color lithograph, in black and orange, executed by Mourlot, 1950 ed. 1200. Recto: Pages 94 & 95 of a book, opened out as one sheet. Page 94, Fleurs de lis in black and orange. Page 94, Rondeau in black and orange cartouche. Verso: Pages 93 & 96. Page 93 has Rondeau, page 96 has Fleurs de lis in black and green. plate edge: h: 119 5/8 in x w: 10 1/16 in; sheet: h: 19 3/4 in x w: 12 7/8 in. Lithograph. French

UMFA1976.020.010.006 (image not available) Nu lisant, de profile (Nude reading, in profile) Henri Matisse: image: h: 19 5/8 in x w: 10 1/16 in; sheet: h: 19 3/4 in x w: 12 7/8 in. Lithograph. French.

UMFA1970.038.006.004 (image not available) Pages 73-74 from Florilège des Amours de Ronsard. Henri Matisse. French. Lithograph bookplate. 15" X 11 3/8"


133. Self-Portrait as a Soldier. Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas.

UMFA1974.065.010.008 (image not available) Alpleben, for Zeichnungen Ernst Ludwig Kirchner: block: h: 5 1/2 in x w: 13 1/2 in: sheet: h: 10 3/8 in x w: 16 in. woodcut. German.


134. Memorial Sheet for Karl Liebknecht . Kathe Kollwitz. 1919-1920 C.E. Woodcut

UMFA1995.018.002 Sturm (Storm) Kathe Kollwitz: Group of people in front of a high wall and ornate iron gate. Behind the wall, seen through the gate, a long building with shuttered windows and balcony. Group of people holding onto the gate, several people raising hatchets. Ragged male figure on PR holding a stone, 3 central figures bending over breaking and picking up the cobblestones. Hunched figure of woman on PL holding a child and holding the hand of another child behind her. Image made of lines, crosshatchings and dots. Title in pencil on PR bottom corner, erased pencil markings on PL bottom corner.

UMFA1995.018.005 (image not available) Untitled Kathe Kollwitz: Group of huddled figures in loose arch shape. Bottom portion is black, relieved in the center by a vertical white cloth. Woman on PL of the group extends her left arm horizontally across the group and her hand rests on a man's shoulder. The upper portion of the group is composed of heads, faces and hands, all looking off into different directions. The faces all have a wide-eyed expression. Small writing in white on black on the bottom PL side of the composition.


136. Compostion with Red, Blue, and Yellow. Piet Mondrian. 1930 C.E. Oil on canvas

UMFA1998.43.1 #21-1958 John D. McLaughlin: Hard edged off-white rectangle enclosed by a greenish yellow border. Above the rectangle along the top edge is a same width off-white bar along the top edge of the canvas. Below the rectangle is a same width black bar above a same width off-white bar along the canvas edge. Wooden stretcher with cross strainer.

UMFA1977.216 Untitled. Doug Dean Ohlson: Four small blue squares on a background of white. h: 29 7/8 in x w: 29 7/8 in; frame: h: 30 1/2 in x w: 30 1/2 in x l: 2 1/16 in. American. Acrylic Paint.

UMFA1973.044 Jasmine Sidewinder #91. 1969. Gene Davis. American. Acylic on canvas. h: 116 in x w: 59 in x l: 1 in


138. Object (le Dejeuner en fourrure) . Meret Oppenheim. 1936 C.E. Fur-covered cup, sauver, and spoon.

UMFA2009.15.1A,B Discarded Memories Chakaia Booker: Strips of automotive tires are attached at a center mount which is in turn attached to a painted black steel pipe stand on an "X" shaped base. The strips of tires form spiral shapes that have been incorporated into the form of the sculpture.


141. The Migration of the Negro, Panel no. 49. Jacob Lawrence. 1940-1941 C.E. Casein tempera on hardboard.

UMFA1981.070 Confrontation At The Bridge Jacob Lawrence: h: 19 1/2 in, w: 26 in. American. Screenprint

UMFA1987.055.020 The 1920s, The Migrants Arrive and Cast Their Ballots Jacob Lawrence: Serigraph. American


142. The Jungle. Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas.

UMFA1982.154 Untitled from Centre Noeuds (Planche 1) Matta (Roberto Sebastian Antonio Echaurren Matta): image: h: 14 in x w: 10 7/16 in; sheet: h: 23 13/16 in x w: 17 5/8 in. Chilean. Lithograph.

UMFA1982.155 Untitled from Centre Noeuds (Planche 8) Matta (Roberto Sebastian Antonio Echaurren Matta): image: h: 14 in x w: 10 3/8 in; sheet: 23 7/8 in x w: 17 9/16 in. lithograph. Chilean.


145. Woman, I . Willem de Kooning. 1950-1952 C.E. Oil on canvas.

UMFA1980.078 Devil at the Keyboard Willem De Kooning: American, Dutch. h: 30 1/2 in, w: 25 in. Color Lithograph.


147. Marilyn Diptych . Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas.

UMFA1986.021.002 Vegetable Soup Andy Warhol: image: h: 31 7/8 in x w: 18 5/8 in; sheet: h: 35 in x w: 23 in. Screenprint.

UMFA1991.003.001_C Cowboys and Indians - General Custer Andy Warhol: Pop art rendering of Mathew Brady portrait of Gen. George Armstrong Custer. Arms crossed looking to PL. Hat and scarve in red, shading in purple. Details of uniform in yellow. Details highlighted with blue or yellow lines. Gloves are grey. Unprinted background.

The UMFA has nearly 200 pieces by Andy Warhol. If you are specifically interested in Andy Warhol, please contact the UMFA education department for more information.


148. Narcissus Garden. Yayoi Kusama. Original installation and performance 1966. Mirror balls.

UMFA2011.2.1 A Shoe (Seeing the Sky Through) Yayoi Kusama:The painting is floated in a deep white enameled finish on wood base frame.image: h: 15 1/2 in x w: 21 7/16 in; frame: h: 18 3/4 in x w: 24 3/4 in x l: 2 in. Watercolor, collage. Japanese.

UMFA2011.2.2 Infinity NetsYayoi Kusama: image: h: 28 5/8 in x w: 35 3/4 in x d: 1 in. Acrylic on canvas. Japanese


149. The Bay . Helen Frankenthaler. 1963 C.E. Acrylic on canvas.

UMFA1976.029 Untitled Helen Frankenthaler: h: 23 5/8 in x w: 17 3/4 in. Gouache. American

UMFA1995.032.001 The Cleveland Orchestra 60th Anniversary Season 1978-79 Helen Frankenthaler: H: 22 5/8" x W: 30 1/8". Serigraph.

UMFA1999.36.1 "Wizard" Helen Frankenthaler: Associated with the second generation of New York School Abstract Expressionist painters, Helen Frankenthaler is the acknowledged pioneer of an innovative pictorial expression. The artists who made up the second generation included Morris Louis and Kenneth Noland, both of whom recognized the importance of Frankenthaler's breakthrough concept of flooding unprimed canvas with thin washes of color. Her soaking and staining technique achieved the ultimate in flatness with no textural build-up and no visible evidence of the process of paint application. Sometimes labeled "post-painterly abstraction" because it directly succeeded the "painterly abstraction" developed by Jackson Pollock, Willem de Kooning, and other Abstract Expressionists. It led some critics to describe Frankenthaler's work as insubstantial, delicate, and inevitably "feminine." Curiously, the works of Noland and Louis were not critically interpreted in the same way.


150. Lipstick (Ascending) on Caterpillar Tracks . Claes Oldenburg. 1969-1974 C.E. Cor-ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel.

UMFA1969.002.008.004 Scissors Obelisk Claes Thure Oldenburg: image: h: 29 1/2 in x w: 20 in; sheet: h: 30 in x w: 20 in. Lithograph. American.


151. Spiral Jetty . Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil.

UMFA1970.029.001 Spiral Of Sulphur Robert Smithson: image: h: 22 1/4 in x w: 18 1/2 in; sheet: h: 24 in x w: 18 15/16 in. Pencil. Crayon. Paper. American

UMFA2011.1.1 Brooklyn, NY (Spiral Jetty after Smithson) Vik Muniz: Dry mounted to archival mat board. image: h: 25 3/4 in x w: 38 1/2 in; sheet: h: 25 7/8 in x w: 38 5/8 in. Gelatin Silver Process.

UMFA1996.22.1 Spiral Jetty Gianfranco Gorgoni. image: h: 8 in x w: 9 7/8 in gelatin silver print. Aerial view of John Smithson's environmental sculpture "Spiral Jetty" looking toward shore. The arid shoreline forms a horizontal band below a clear sky at the top of the composition. The jetty, a rock fill spiral in the Great Salt Lake originates on the shore. This view is from one side. Mat: white mat board, Frame: rough finish gold painted wood.

content area image #/info image from test UMFA object image UMFA object info5. Indigenous Americas 1000 BCE-1980 CE 153. Chavín de Huántar. Northern highlands,

Peru. Chavín. 900-200 BCE. Nose Ornament (jewelry hammered gold alloy).

UMFA2008.16.1 Necklace with Double Bat Effigies 700 -1200 CE Panama. gold. h: 1 1/4 in x w: 1 in x l: 18 13/16.

Consists of four pairs of cast double bat effigy ornaments each of which is separated by one tubular bead with a round bead on each end to separate the ornament from the tubular bead. The back of the necklace consists of four sets of incisor shaped pendant beads, three per set. Each incisor bead is separated by a round bead, and each set repeats the pattern of round and tubular beads separating the ornaments. Modern threaded fastener joins the necklace at the back of the neck. Threaded on nylon monofilament. The place of origin is attributed to the area of Parita on the West Cost of Panama in Herrera

UMFA1977.094 Bird Helmet Figure Plaque, Mezcala (Mexican). 500 BCE-200 CE. h: 5.75 in, w: 3.75 in. Green jade human figure wearing a bird helmet. Pierced in two places on either side of the figure.

5. Indigenous Americas 1000 BCE-1980 CE 155. Yaxchilan. Chiapas, Mexico. Maya 725 CE Limestone (architectural complex). Lintel

UMFA1987.057.001 and UMFA 1987.057.002 Urn, Maya, Mexico, 500 BCE - 800 BCE. Terracotta, polychrome pigments. Coling, sprigging, carving, scultping, painting, low firing. h: 15 in, diam: 17.125 in.

The symbolically complex face with its eyes of swirling scrolls, fish fins on cheeks, an aquiline nose, and filed teeth portrayed on these urns has been given the name of God I of the Palenqu¿ Triad by scholars. They use the term The Palenqu¿ Triad to refer to a trio of gods who were celebrated as divine ancestors by the kings of the Maya city of Palenqu¿. A horseshoe frame of beads representing a cave, signifying that the god is in the underworld, sets off the face. God I is also a prototype for one of the Hero Twins of Maya mythology who defeated the evil deities of the earth.

The unusually large size of the urns suggests a funerary function that is also implied by the knots that accompany the eardiscs that denote rulership. Early tombs at the Maya city of Tikal have been found that contain the skeletons of important personalities but not their skulls. Possibly each urn once contained the severed head of a high-ranking person whose patron was God I. The excellent state of preservation of these urns also strongly suggests that they had been placed in masonry tombs, the burial places of

UMFA1985.006 Mayan Bowl With 11 Hierogylphs. 600-900. Guatemala, Petén region, Maya culture. Earthenware and pigment. h: 2.9375 in, diam: 9.125 in. Terra sigillata, Cylindraical shaped bowl with a wide flared mouth.

The decoration consists of eleven hieroglyphs painted on the exterior in black-brown monochrome on a cream colored base. The overall effect is a calligraphic masterpiece, of the Maya writing system. Ten of the eleven glyphs are of approximately even in width, with the exception of the last one which is much narrower. The sequential order and configuration of the glyphs corresponds to Coe's "Primary Standard Text" believed to be a "rigidly codified chant or ricitation, dealing with mortuary concepts that relate to the journey to the Underworld of the deceased in whose tombs the vessels ad been placed at the time of burial. Gylph theme: burial, sacrifice, death and death gods.

5: Indigenous Americas 1000 BCE - 1980 CE 157. Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375–1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone). (4 images)

UMFA 1978.024 Chontal Style Stone Mask, Mexico Late Preclassic, Mezcala (ca. 300 BCE - 100 BCE), stone, height 5.5 in, 13.97 cm width, white stone mask in the Chontal style.

The overall design is economical in form. Each ear has two holes drilled through for suspension. Traces of cinnabar paint on the back.

5: Indigenous Americas 1000 BCE - 1980 CE 158. Ruler’s feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428–1520 C.E. Feathers (quetzal and cotinga) and gold.

UMFA 2008.16.1 Necklace with Double Bat Effigies. Coclé. Panama. ca. 700-1200. Gold. h: 1 1/4 in x w: 1 in x l: 18 13/16 in.

Consists of four pairs of cast double bat effigy ornaments each of which is separated by one tubular bead with a round bead on each end to separate the ornament from the tubular bead. The back of the necklace consists of four sets of incisor shaped pendant beads, three per set. Each incisor bead is separated by a round bead, and each set repeats the pattern of round and tubular beads separating the ornaments. Modern threaded fastener joins the necklace at the back of the neck. Threaded on nylon monofilament. The place of origin is attributed to the area of Parita on the West Cost of Panama in Herrera province.

UMFA 1985.020 Jester Diety headdress, element. Honduras. Late Classic, Maya. (600-800). Jade. Jade with traces of cinnabar.

Small holes drilled through the sculpture to tie it to a cloth headdress in an upright position to form the crown. Flat in form so that the design is visible in profile. A large central eye and an upturned nose placed over the upper jaw which contains a large single shark's tooth characteristic of the Jester gods of Palenque.

5: Indigenous Americas 1000 BCE - 1980 CE 160. Maize cobs. Inka. C. 1440-1533 CE. Sheet metal/repoussé, metal alloys.

UMFA 2008.16.1 Necklace with Double Bat Effigies. Coclé. Panama. ca. 700-1200. Gold. h: 1 1/4 in x w: 1 in x l: 18 13/16 in. Consists of four pairs of cast double bat effigy ornaments each of which is separated by one tubular bead with a round bead on each end to separate the ornament from the tubular bead. The back of the necklace consists of four sets of incisor shaped pendant beads, three per set. Each incisor bead is separated by a round bead, and each set repeats the pattern of round and tubular beads separating the ornaments. Modern threaded fastener joins the necklace at the back of the neck. Threaded on nylon monofilament. The place of origin is attributed to the area of Parita on the West Cost of Panama in Herrera province.

5: Indigenous Americas 1000 BCE - 1980 CE 161. City of Machu Picchu. Central highlands, Peru. Inka. C. 1450-1540 CE. Granite.

UMFA1985.018.008 Machu Picchu. 1984. Linda Stevens Connor. Gelatin silver print. 8" x 9 15/16"

UMFA2014.21.4 Machu Picchu, Peru. 1989. Marilyn Bridges. Gelatin silver print. 14 3/4" x 18 5/8". Black and white photograph of Machu Picchu.

5: Indigenous Americas 1000 BCE - 1980 CE 164. Transformation mask. Kwakwaka'wakw. Northwest coast of Canada. Late 19th century CE. Wood, paint, and string.

UMFA2007.9.1 Wolf, and Sisiutl Transformation Mask. John Livingston. Canada. Red cedar, cedarbark, alder, paint, magnets, cordage and hinges.

Wolf's head extending vertically from an oval wooden base. It is painted in black, white, red, light bluish-gray, with parts of the natural surface of the wood showing. The wolf's mouth is slightly opened, exposing the teeth. Only the incisors are rendered naturalistically. Two paws are attached to the base on opposite sides, bottoms up, with four claws extended. The underside of the wolf's bottom jaw displays a human face, also with the mouth slightly opened and teeth showing. Dark brown string extends from small holes on both sides of the upper portion of the wolf's mouth. The string runs through two ringlets, one on the outside edge of each paw, and ties to two wooden rod-shaped handles, measuring approximately 7 3/8" and 4 7/8 " in length. Upon opening the mouth, a three dimensional face in human form can be seen, attached to the base and painted in black, white, red, green, and with parts of the natural color of the wood showing. The mouth is slightly opened, but contains no teeth. The upper and lower portions of the inside of the wolf's elongated, somewhat abstract representations of the exterior with the eyes and teeth being most identifiable. The aforementioned strings run through a hole in the bridge of the nose on the interior face.

UMFA1981.016.002 Raven Mask. Kwakwaka'wakw , Kwakiutl. wood, pigment. dim. 29 x 89 x 17 cm.

Its red mouth and mirror eyes make this raven seem the creature from another world that he is. According to Northwest Coast myths, Raven could change himself into many forms -- human, natural, or animal. It is Raven, the people say, who taught us how to fish, how to build our houses and organize how we live. During the cold winter months the people of the Northwest coast hold elaborate ceremonies. Men wear masks like this one of Raven and, through the use of dance and gestures, tell stories about the history of the world and Raven's role in shaping it. In this way the knowledge of the past is carried forward into the future. Among Northwest Coast cultures mythology was extremely important since it was through myths that one traces one's descent and define one's place in the society. Whether on totem poles, house fronts, masks, sculptured figures or on items of daily use the animal symbolism of this area is a language well understood by its creators.

5: Indigenous Americas 1000 BCE - 1980 CE 166. Black-on-black ceramic vessel. Maria Martí nez and Julian Martí nez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic.

UMFA2003.10.16 Maria Martinez, Santana Martinez. Serpent Design Pot, ca. 1939. American, North American Indiam. Sam Ildefonso, earthenware. h: 5 5/8 in, diam: 7 in.

Black burnished earthenware pot. Slightly curving sides swell outward from the mouth and then, at about the middle of the piece makes a rounded curve angling in towards a narrow foot. The design is on the upper sides on a band. The undulating body of the stylized serpent has three pairs of pointed legs extending down from the three upward curves of the body. A design of three overlapping lobes fills the voids in the two downward curves of the serpent's body. The serpent has a three pronged fork design extending from the back of its head with a line of dots across the back of the tines, and a long zigzag tongue ending in a notched arrow. The design is glossy and the background is mat.

UMFA1980.131.002 Maria Martinez, Popovi Da, Serpent Plate, ca. 1939. American, North American Indiam. Sam Ildefonso, earthenware. h: 1.625 in, diam: 9.5625 in.

Highly burnished black plate with serpent design around the top half edge of the plate. Design has a stylized serpent with a square mouth, eatting a zig zagged design( lightning?). Design highly burnished, while the negitive portion of the design is painted matt with a slip that is not burnished. Metallic black is a result of heavy carbon trapped in clay body from the pit firing process.

content area image #/info image from test UMFA object image UMFA object info6: Africa 1100-1980 CE 171. Ndop (portrait figure) of King Mishe

miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). C. 1760-1780 C.E. Wood.

UMFA1989.031.005 Endop King Figure " Mbopey Mabiintsh ma-kyeem" . Kuba. (Democratic Republic of Congo). A statue of King Mpopey Mabiimtsh ma-Kyeen, who reigned from 1939-1969; therefore, the most recent king to be carved. This carving is exceptionally well executed with all of the detail associated with the King figures. It is probably a Kinshasa art market copy, but, if so, it is very well done. There remains a very slim chance that the piece was actually authorized by the present king and carved by the royal carver at Mishenga and possibly an actual Kuba King figure. It is about half the height of regular or real carvings of this type, but again may be an authentic piece. The King holds a cock or rooster in his left hand, the right hand resting on the right knee. The cock is the symbol of the king's vigilence

6: Africa 1100-1980 CE 172. Power Figure (Nkisi n'kondi). Kongo people (Democratic Republic of the Congo). C. late 19th century C.E. Wood and metal.

UMFA2006.4.119 Nkisi Nkondi. Kongo peoples. Africa. Wood , nails , iron. h: 6.50 in, w: 7.50 in, d: 12 in. Standing figure of a man with right arm lifted up. He wears a woven fiber hat and his body is covered by pieces of iron and nails.

UMFA2006.4.12 Nkisi Nkondi (Power Figure). Kongo peoples. Africa. Wood, metal. h: 4.75 in, w: 6.50 in, d: 26 in. Male figure with right arm upraised stands on round column-like base. Figure is missing item that would have been held in right hand. Body from neck to hip is covered with inserted iron pieces. Rectangular area in abdomen without iron pieces. Considerable wear on nose and lower lip.

UMFA1988.043.001 Nkisi Nkonda Figure. Kongo peoples. Democratic Republic of Congo .wood, nail. h: 10.625 in, w: 3.75 in, d: 5 in. A strongly carved figure standing with legs apart on exaggerated feet. The truncated arms (no forearms or hands) is carved at one with the body. A rectangular receptacle for symbolic materials containing three embedded nails protruding from the torso. The bundle of symbolic materials and mirror are missing from the torso receptacle. The head with finely carved features is thrust forward from the shoulders and has a round cavity in the crown to take further symbolic materials. Reddish brown h d d i h l i6: Africa 1100-1980 CE 173. Female (Pwo) mask. Chokwe peoples

(Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.

UMFA2006.4.64 Mask. Chokwe (Africa). Mid 20th Century. wood , bamboo , fiber. Face mask with egg shape form. Eyes are split ovals. Nose is triangular in profile with a sharp ridge seen from the front. Mouth is open to show teeth and has prominent lips. Traces of red-orange and white paint are found. Ears are "C" shaped and have a "U" shaped form for lobes. The back cover of the mask is made of woven fiber in a coil pattern to which are attached small objects resembling pinecones.

UMFA1985.052.086 Chokwe mask. Chokwe. Raffia, wood. Small mask with dark paint on the hair eyebrows, nose, and mouth. The eyes are open to narrow slits. There is a row of holes pierced between the lips. The right ear is pierced. A raffia headpiece is attached to the top of the mask.

UMFA1985.052.068 Chokwe mask. Chokwe. Raffiawork, wood. Long, narrow mask with exaggerated eye. Edges of eyelids and sharp, pointed teeth are painted white. The ears and nose are pierced. The cheeks are decorated with incised lines as is the bulging forehead. The eyebrows are represented by double rows of small holes. The chin is decorated with small holes in a geometric pattern. The hair is carved in relief in rows going across the head. A fiber net forms the back of the mask.

UMFA2006.4.61 Chihongo Mask. Chokwe (Africa). Wood, bamboo, fiber.Face mask is bulbous in shape narrowing down to a ledge-like chin is semi-circular in form and extends out from the plane of the mask. Hair is indicated by incised lines slanting to the left and right from the top of the forehead and with traces of white paint. On the forehead is a pattern composed of four triangles pointed inward to create a diamond in the center. Eye area is a concave circular area with protruding eyes formed by two half-circles split in the middle. Incised at the bottom of the eye area are three incised lines. Eye brows are indicated by curved incised lines. All the incised patterns bear traces of white paint. Mouth extends from edge to edge. Its form is of a large oval down turned at the outer edges and pointed up in the middle. Mouth is open to show prominent teeth with traces of white paint. Attached to the fiber covering at the back are strands of bamboo. Chihnogo is the male

6: Africa 1100-1980 CE 174. Portrait mask (Mblo) . Baule peoples (Côte d'Ivoire). Early 20th century C.E. Wood and pigment.

UMFA1996.44.1 Yaure mask. Yaure, Baule, Guro (Africa).Wood. h: 10.25 in, w: 7.375 in. Oval human featured mask with two down curving horns. Narrow horizontal eye slits set in shallow arched brows which join together in a sharp edged nose bridge flaring at terminus. Small open oval mouth. A knob like beard with an incised spiral design on its shift points out from the chin. Symmetrical alternating solid and incised lines suggest hair on the forehead and temple scarification liner extent back from the corners of the eyes. The horns are oval in cross section with a spiral incised line design from origin to terminus. A beaded carved edge decorates the lower jaw. A wide rough carved lip, divided by a deeply cut channel extends back from the front of the mask. The lip is wider at the bottom and pierced by pairs of holes on each side. Tips of horn worn. Loss on forehead at base of horns. Black metal stand.

6: Africa 1100-1980 CE 175. Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber.

UMFA2006.4.62 Sowei Helmet Mask. Mende (Africa). Mid 20th century. Wood. h: 15.50 in, w: 8.75 in, d: 10 in. Helmet mask. Diamond shaped face with smooth wide forehead. Slit eyes, triangle nose and naturalistic mouth are in the lower half of the diamond. Starting at the ear in the back are three "rolls." The mask sports an elaborate hairdo that is surmount by the figure of a bird.

UMFA2006.4.82 Sowei Helmet Mask. Mende (Africa). Mid 20th century. Wood, fiber. h: 36 in, w: 13 in, d: 15 in. Janus-style helmet mask. Diamond shaped face with smooth wide forehead. Slit eyes, triangle nose and a pursed mouth are in the lower half of the diamond. From ear to ear on the sides are three "rolls." The mask sports an elaborate hairdo that is surmounted by a trilobal form.

6: Africa 1100-1980 CE 178. Aka elephant mask. Bamileke (Cameroon, western grassfields region). C. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads.

UMFAED.2006.2.28 (no image available) Beaded figure. Cameroon (Africa). Glass beads.

6: Africa 1100-1980 CE 180. Veranda post of enthroned king and senior wife (opo Ogoga). Olowe of Ise (Yoruba peoples). C. 1910-1914 C.E. Wood and pigment.

UMFA1994.003.001 "Eshu" standing figure. Yoruba, Africa, Nigeria. Wood. h: 23 3/8 in, w: 3 5/16 in, l: 6 3/4 in. Wood standing figure on a short cylindrical base above a cylindrical handle. Figures headress has a tall flat plume curved towards the rear with a snake carved in the relief head down on the front. Figures arms bent at the elbows holding a pestal in its dexter hand and a gourd container in its sinister hand. Head facing forward, bearded, and with three sacrification lines on each cheek. Large oval eyes. Wearing a one piece costume -- shart sleeve, V-neck, knee length. Zig-zag pattern around the base. Handle flares at the base. Two strands of red glass beads at the figure's throat. Dark polished surface. Mounted on an acrylic base.

content area image #/info image from test UMFA object image UMFA object info7. West and Central Asia 500 BCE-1980 CE 182. Buddha . Bamiyan, Afghanistan. Gandharan.

C. 400-800 C.E. (destryoed in 2001). Cut rock with plaster and polychrome paint.

UMFA1999.14.1 Relief Fragment with Two Figures: Two figures stand to the left of a column, their heads touching the top of the relief. The more complete of the figures holds his hands in anjali (worshipful) pose, suggesting he was in attendance to the Buddha. The second figure is badly damaged. The stone is the characteristic black schist found in Gandhara.

UMFA1999.14.2 Relief Fragment with Two Seated Figures: Two figures sit in European pose on high seats, their feet placed on stools empasizing their status, as does their scale in comparison with the third (broken) figure placed between and above them. The throne upon which the Buddha (the figure to the proper left) sits, further emphasizes his importance. Both the Buddha and his attendant wear robes draped over their left shoulders, their right shoulders revealed. The attendant figure seems to wear a headdress, possibly indicating a bodhisattva. He turns his head attentively toward the Buddha. The figures are well modelled and the attendant is in good condition as is the body of the Buddha.

7. West and Central Asia 500 BCE-1980 CE 184. Jowo Rinpoche, enshrined in the Jokhang Temple . Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

UMFA1951.023 Ngwang Lobsang Gyatso- The Great Fifth Dalai Lama: Figure is seated in array of robes on three square cushions. His left hand in his lap may have held an implement such as a wheel. His right hand makes the discerning gesture and he holds a lotus stem between the thumb and forefinger. The stem flows up to his right shoulder where a lotus is positioned. Similarities in workmanship between the UMFA statue and other examples at Brandeis and Boston Museum of Fine Arts suggests the sculpture was produced in the central region of Tibet.

7. West and Central Asia 500 BCE-1980 CE 187. Folio from a Qur'an . Arab, North Africa, or Near East. Abbasid.c. eighth to ninth century C.E. Ink, color, and gold on parchment.

UMFA1975.059.011.005 Leaf from an illuminated manuscript Muhammed Kamil: Turkish manuscript on glazed paper, both sides, Nashki script, 17 lines to a page. Margins in gold, breathing places marked with illuminated medallions, black script.

7. West and Central Asia 500 BCE-1980 CE 188. Basin (Baptistere de St. Louis) . Muhammad ibn al-Zain. C.1320-1340 C.E. Brass inlaid with gold and silver.

UMFA1994.010.002 (image not available.) Figurine of a Horse Head: Persian Parthian. AKK 608 Entire body missing. Good detail. Red to dark red in color. A bridle is distinctly visible on the horse. h: 2 1/4 in, w: 2 1/4 in, l: 1 in

7. West and Central Asia 500 BCE-1980 CE 189. Bahram Gur Fights the Karg, folio from the Freat Il-Khanid Shahnama . Islamic; Persian, Il'Khanid. C. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper.

UMFA1975.075.009.006 Sanskrit Manuscript: h: 4 7/8 in x w: 6 7/8 in. ink. Manuscript. Leaf.

content area image #/info image from test UMFA object image UMFA object info8. South, East, and Southeast Asia 300 BCE-1980 CE

192. Great Stupa at Sanchi . Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. C. 300 B.C.E.-100 C.E. Stone masonry, sandstone on dome.

UMFA2000.12.1 River Goddess Ganga with Attendants: Pinkish sandstone relief panel of a river goddess (Ganga or Yamuna). She stands at proper right, the tallest of five figures. She is on the back of a mythical creature with something (fish?) in its mouth. The base under the other four figures is an ornate stylized floral motif. The goddess holds up her proper right arm. The water pot she probably held is missing. Her left hand rests on the head of a female dwarf. Two other female figures stand to the left of the dwarf. The shorter holds one arm up and touches the lower edge of a plant(?) above her head. The figure next to her is turned sideways and holds the sinuous stock of a plant. A man stands facing forward at the proper left side holding a lotus(?) flower in his right hand. All of the figures are largely nude, elaborately coiffured, with jewelry, and large disk earrings. Dressed stone along proper right edge. The back, and other sides are roughly chiseled or broken.

8. South, East, and Southeast Asia 300 BCE-1980 CE

197. Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic tile roofing (architecture).

UMFA2001.11.2 Horse bracket: Indian. This pair of brackets was used in a royal palace on either side of the main entrance. In comparison with many brackets from all over South India of different periods, this is unique, being carved on both sides, and showing a series of mythical animals with full movement. The riders look powerful with dramatic expressions and movement. The bracket is divided into two halves. The bottom half is a mythical creature reared on its hind legs. A figure in warrior costume is seated on the creature's back holding a spear. A smaller figure holds up the floral band separating the top from the bottom. A crouched figure who may have held a spear supports the lower half of the doorway bracket. The upper half depicts a crouched elephant supporting a rearing horse with rider which supports a large horse and rider. The figure is surrounded by other human and animal forms.


200. Lakshmana Temple . Khajuraho, India. Hindu, Chandella Dynasty. C. 930-950 C.E. Sandstone.

UMFA2001.29.1 Umamahesvara (Siva and Parvati): Complex figurative stone sculpture depicting deities of central India. The gods have gathered in an architectural setting perhaps a temple. Two prominent figures depicted in the center of the composition and in larger scale than the other figures in the piece, an outburst of a lotus blossom behind their heads, are of the deity Maheshwara, the supreme, shiva, creator and destroyer of all evils seated lovingly with his wife or consort Parvati. Shiva's tresses (depicting the destructive power of the Ganges river) are elaborate, adorned with pearls and piled very high on his head. There is a distinguished third eye in the center of his forehead. He wears a loincloth, pearls and a mythological creature winds about his body and hair as well as the body of Parvati. He holds the cobras head in one hand , a trident in his second hand, Parvati's breast in his third hand and he gently lifts her chin with his outermost hand so that her gaze meets his. This gesture depicts a very tender, loving couple. Parvati is seated on one of Shiva's crossed legs, his other is resting on a lotus pedestal. Parvati wears large earrings and a necklace, her clothes have moved away from her thigh. She holds a lotus flower in one of her hands while she tightly holds Shiva's shoulder with the other. Their figures are so intertwined with the snake about their bodies and their embrace, they appear as if they are different aspects of the same deity. Underneath the stool on which they sit is the sacred bull of Shiva and a lion. Ten secondary figures adorn the periphery. Left bottom is Ganesha, the elephant headed god of

UMFA1999.55.247 lintel depicting wedding of Siva and Parvati: This lintel represents the wedding of Lord Siva to Parvati. The wedding takes place in the presence of several Saivite saints. Ganesha is seen on one side, riding on his vehicle, the rat, and flanked by two attendants. His brother Subrahmanya rides on his vehicle, the peacock, on the other side flanked by his two consorts. Valli and Devayani. Between Ganesha and the central theme, Lord Krishna plays his flute leaning on a cow. Between Subrahmanya and the central theme, Lakshmi, the goddess of prosperity, is seen holding a lostus bud. On either side the last figures but one are the representations of Siva and Vishnu. At the extreme ends are a "dvarapala," temple door guardian and a female tribal dancer. The top represents a gopuram: temple top. Each group is supported by "Bhutoms" (earth spirits), who are supposed to carry earth, flanked by "Yalis," mythical lions with their riders. Carved through panel showing the full rounded figures with, the details and expressions as seen on bronzes. From the quality of carving and the costumes and jewelry, it belongs to the Madurai district. The carved panel was fitted as a lintel of a palace door with the piereced sections creating ventilation.


201. Travelers among Mountains and Streams . Fan Kuan. C. 1000 C.E. Ink and colors on silk.

UMFA1980.130.033 Untitled Yi Dynasty: Landscape. Cranes fly in the middle of the sky. A house is located middle right edge. A turtle is located lower left area of the landscape. The turtle and cranes and a pine tree in the landscape are symbols of longevity. A colophon and three red seals are toward TL. The technique is sumi-e. Rapid brush strokes. Black ink on silk.


202. Shiva as Lord of Dance (Nataraja ). Hindu; India (Tami Nadu), Chola Dynasty. C.11th Century C.E. Cast Bronze

UMFA2001.11.1 Dancing Siva (Siva Nataraja-King of Dancers): Indian. Shiva (or Siva) in the form of Nataraja, or Lord of the Dance. The large dancing figure of Shiva, circled by a ring of fire, is crushing the small figure of the demon-dwarf Apasamara (or Muyalaka) under his foot. The right foot of the dancing figure of Shiva conveys the entire weight of his body onto the side of the small, supine, figure of the demon-dwarf. The demon-dwarf lies on its right side, with his head to proper right, looking up at Shiva and holding a cobra in his proper left hand. The demon figure is on a raised oval base with a flared foot with two rows of lotus petals, the upper pointing up and the lower pointing down encircling the base. Shiva's left leg is raised in the air and cocked at a right angle in front of the right leg. Each of the figure's four arms are also symbolic. The upper left arm is extended with palm up holding a flame (Agni). The figure's lower left arm crosses the body with palm up and pointing toward the raised left leg in a gesture, denoting release from ignorance for the devotee. The upper right arm of the figure is bent at the elbow and points up holding a drum (Damaru). The flame on the right represents cosmic destruction balanced against the drum representing creation. The lower right arm is bent at the elbow facing forward with the open palm up in the Abayhamudra, or "fear negating," gesture. A cobra is wrapped around the lower right arm, its head with flared hood is in front of the proper right elbow. The tall elaborate headdress consists of a crown of tiers of vertical feathers coming to a point. Several long horizontal


204. The David Vases . Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze.

UMFAL1980.034 Kangxi Imp. saucer dish : Unknown: (21669) dragon design in center, B. & W. An Imperial saucer dish decorated in underglaze blue. On the outside, the decoration consists of two five-clawed dragons amid flame designs, with each chasing a flaming pearl. On the bottom of the inside, another five-clawed scaly dragon, amid flames, rears up to seize a flaming pearl. the inside design is contained within a double circle, with the sides left blank and another double circle just beneath the lip. The origin of the dragon in chinese mythology is very ancient. This mythical beast, in its most powerful art portrayals, magnificently fulfills the functions of ecpressing power or evoking fear or protection. the dragon is lord of the skies, associated with thunder, lightning and rain, which is necessary for crops and prosperity. It was during the following Yuan Dynasty (1280-1367) A.D. that the five-clawed dragon came into use.


205. Portrait of Sin Sukju (1417-1475). Imperial Bureau of Painting. C. 15th century C.E. Hanging Scroll (ink and color on silk)

UMFA1980.034 Untitled [Portrait of a Buddhist Monk] unknown: Japanese characters along left edge. Bald man dressed in traditional Japanese costume sitting on the floor with beads in left hand. Silk background is gold. Artist recorded on folder as Daizo Sho Tsujin O-Sho


210. White and Red Plum Blossoms . Ogata Korin. C. 1710-1716 C.E. Ink, watercolor, and gold leaf on paper.

UMFA1997.27.4 untitled [branch and magpie] Unknown: Fire brush technique light brown on heavy cream paper. Simple minimal composition on a narrow rectangular sheet. A gnarled truncated branch at a diagonal from the PR edge has a large branch with leaves and blossoms (prunus) angling down from the bottom side and a smaller branch points up from the top side of the truncated branch. One magpie sits on the end of the truncated branch and the other sits on a lower branch. Six vertical lines of text across the top very faint.

UMFA1991.072.002 Plum Blossoms Wang Ye Mei: Calligraphy across the top one-third extending down on either side of the stylized mountain in the center of composition. Grass on the proper left side of the mountain and a patch of grass on the proper left side near the middle. A reflection of the mountain appears on a body of water in the center foreground. The composition is brush applied black ink on silk.


211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thrity-six View of Mount Fuji. Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper.

UMFA1980.135 (no image available) The Great Wave of Kanagawa Katsushika Hokusai: Japanese. Woodcut. UMFAD.109 (no image available) Untitled,Hokusai Manga Katsushika Hokusai: Page from a book with the characters for the word "fifteen" legible but cut-off of the page. There are two scenes on this object, one above the other. The top scene shows farmer with hoe on a hillside and a thatched storage structure nearby. In the image below are rice fields, duck, and an additional storage house. Two women are working outside of the thatched structure.

UMFA1980.169 The Whirlpool Naruto in Awa Province, after Hiroshige Unknown: Japanese woodcut composition style. Marks after Hiroshige.

content area image #/info image from test UMFA object image UMFA object info UMFA object image UMFA object info8. The Pacific 700-1980 CE 216. Staff god . Rarotonga, Cook

Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers.

UMFA1997.51.1 Omu: New Guinea/West Papua. Fetish Figure. Conical head with stylized arms and legs in the shape of a "W" over an "M" decorated with incised half circles. The head has crudely rendered raised facial features. Below the body are two oval openings one above the other in a ninety degree relationship. Raised double scrolling flat panel above and below the oval openings. A prominent penis projects from below the lower panel. The lower third is an undecorated tapered shaft terminating in a point.

8. The Pacific 700-1980 CE 217. Female deity . Nukuoro, Micronesia. C. 18th to 19th century C.E. wood.

UMFA1998.57.6 "Traditional Initiation Figure": Asmat. Stylized carved human figure with both hands at chest clutching an inverted human head. Covered with white shell pigment, black dots on the hands, joints of the elbows, hips and knees. Orange crescent shaped incised marks along the limbs, sides of the chest, neck, and on the face. The head is pear shaped with a black overhanging cap of hair, round painted eyes under a brow ridge and a flattened triangular nose. Black raised bean shaped ears. Incised mouth painted black. Irregularly shaped and roughly finished base.

8. The Pacific 700-1980 CE 219. Hiapo (tapa ). Niue. C. 1850-1900 C.E. Tapa or bark cloth, freehand painting.

UMFA2003.10.11 Tapa Cloth with Kingdom of Tonga Seal: Tongan. apa (bark cloth), irregular rectangle shape, ivory colored material, with design and inscription applied with reddish-brown vegetal dyes. Geometric border of connected open triangles enclosing solid triangles. The central decoration is the seal of of the Kingdom of Tonga consisting of a shield with a flag on either side crossed behind the shield and surmounted by a crown. The shield is divided into four quadrants, each with different heraldic devices, and in the center is a large six point star enclosing a cross. The devices are: three crossed swords (bottom proper left quadrant) against a field of dots; a crown with four crosses (top proper left) against a field of vertical lines; a dove holding an olive branch (bottom proper right) against a field of horizontal lines, and three solid six point stars (top proper right) against a field of dots. The crown above the shield has four crosses and an olive branch wreath surrounding it. The flags have a dark cross on a white square, and three six point stars in the field. The banner across the bottom reads: "God and Tonga is Our Inherritance (sic)"

UMFA2007.35.1 Tapa Cloth: Samoa. Long rectangular design of beige tapa cloth. Decoration consists of simple geometric designs and borders.

8. The Pacific 700-1980 CE 220. Tamati Waka Nene. Gottfried Lindauer. 1890 C.E. Oil on canvas.

UMFA1972.034.001 Maori Carved Head: The Maori believed the art of wood carving to have originated with the gods, and thus the act of wood carving was a sacred ritual. A carver was therefore very careful to protect the "mana", or spirit power, of his work. the central symbol in classic Maori carving is the human image, or "tiki", which most often represents an ancestor. Carving of heads were placed in the tribal meetinghouses, where the myths and legends of the maori were taught; they were also placed on the outside of the meetinghouses and food-storage houses, which were of the utmost importance to village life. the surface decoration of the Museum's carved head reflects the Maori tradition of wearing facial tattoos. The quantity and complexity of those tattoos were related to the status of the wearer, who was a chief or priest within the tribe who possessed great "man". The Museum's carved head was originally given at the turn of the century to a missionary, who in turn gave it to our donor.

8. The Pacific 700-1980 CE 222. Malagan display and mask . New Ireland Province, Papua New Guinea. C. 20th century C.E. Wood, pigment, fiber, and shell.

UMFA1983.001.009 Tatanua Mask: New Ireland Province. New Ireland masks are stylistically similar to "malanggan" in their carving and painted decoration. The most common are called "tatanua" and have helmets made of painted fiber on top of intricately carved human faces. Though its original meaning is likewise obscure, the mask may represent a single ancestor or an entire tribe, or perhaps even a venerated figure from the spirit world.

8. The Pacific 700-1980 CE 223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II . Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation.

UMFA2007.4.1-.2 Mat: weaving , painting. l: 49 3/4 in, w: 39 3/8 in. Papua New Guinea.

content area image #/info image from test UMFA object image UMFA object info UMFA object image UMFA object info10. Global Contemporary 1980 CE to present 226. Horn Players . Jean-Michel Basquiat.

1983 C.E. Acrylic and oil paintstick on three canvas panels.

UMFA1999.19.1 Composition (Ritratto di Artista) [Portrait of Artist] Cy Twombly: After a semester of study at Black Mountain College in North Carolina, Cy Twombly, poet and sculptor as well as a painter, settled in Rome, Italy, where he joined a group of calligraphic painters. He was inspired by the gestural spontaneity of Robert Motherwell and Franz Kline, but instead of their soul-to-hand connections, he developed an intellect-to-hand connection in his work. Twombly's "writings" are the result of a calligraphic style of configuring of letters, words, and images in an "anti-compositional" order of random graffiti. Deliberately avoiding the individual gesture of Abstract Expressionism, Twombly's work originates from the anonymity of graffiti. In contrast to the aggressively autographic lines in the abstractions of Jackson Pollock and Willem deKooning, Twombly's lines are sensitive and ambiguous. In diminishing the importance of individual identity, his work is closer in purpose to that of Jasper Johns and John Cage. Like them he often makes allusions to mythological themes and cultural traditions influential in art historical development. Ritratto d'Artista can be translated as "Portrait of the Artist" or as "Portraying the Artist," but Twombly places this work in the b d f I li R i i

10. Global Contemporary 1980 CE to present 233. Trade (Gifts for Trading Land with White People) . Jaune Quick-to-See Smith. 1992 C.E. Oil and mixed media on canvas

UMFA1979.270 Sawhorse Frank Anthony: Acrylic medium with paper, feathers, in trompe l'oeil style. h: 48 1/8 in x w: 96 1/8 in x l: 1 1/2 in. American.

10. Global Contemporary 1980 CE to present 234. Earth's Creation . Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas.

UMFA1995.002.020 Untitled. Nabil Nahas: Abstract: predominantly black & yellow with the yellow paint dripping across bottom, done in spirit of Jackson Pollock. No discernable shapes/images. Layered paint applied loosely with no pattern or balance.

UMFA1999.22.1 River of Brains. Michael David Hall: Abstract shapes and lines mixed with discernible shapes and objects. There doesn't appear to be a pattern. The colors and shapes contain a lot of action and energy. The canvas is completely filled with small amounts of white space at the top. Red appears to be the dominant color. Thick black lines are used in several areas to outline a shape or object.

10. Global Contemporary 1980 CE to present 237. Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 C.E. Mixed media.

UMFA2003.13.1 Rex Deborah K. Butterfield: h: 85 in x w: 100 in x d: 54 in, weight 1,637 lbs. metalworking , founding , casting. American.

10. Global Contemporary 1980 CE to present 238. Electronic Superhighway . Nam June Paik. 1995 C.E. Mixed media installation (49-channel closed-circuit video installation, neon, steel, and electronic components).

UMFA2006.27.1 Toaster Worship . Trent Alvey: Overall description: Mixed media sculpture composed of five sections. Two black laminated side panels (A and C) join to a center panel (B). On center panel half of a small metal table with laminated top has been attached to panel. Two 1960's era toaster shells have been mounted on table. Inside shells are wired slots for the glass tubing (E). A small metal stand is also on the table for the sculpture of a woman standing on a bed of toast (D). With wires plugged in, glass tubing lights up and plate with woman on the toast will rotate.

10. Global Contemporary 1980 CE to present 245. Old Man's Cloth. El Anatsui. 2003 C.E. Aluminum and copper wire.

UMFA1995.002.027 Black Sand Beach Series #28 Beth Ames Swartz: Abstract: lots of pink & silver; looks like tailings of blast furnace pounded out and placed on a dark tan linen cloth. Copper colored frame with acrylic front.

UMFA1997.43.1_A Fall Landscape David Pendell: Two-piece wall sculpture subnumbered A and B consisting of abstract glazed clay forms secured to a pllywood mounting. Shapes are all different also varying in color and texture. A series of organic forms attached to clay slab, painted background.

10. Global Contemporary 1980 CE to present 246. Stadia II. Julie Mehretu. 2004 C.E. Ink and acrylic on canvas.

UMFA1995.002.003 Untitled Norman Bluhm: image: h: 49 5/8 in x w: 60 1/16 in; frame: h: 54 5/16 in x w: 64 3/8 in x 1 1/2 in. American

UMFA2014.11.1 Tipsy: Labyrinth (UT, copper) Jean Arnold: Mixed media representation of a copper mine in Utah. Black circular lines changing from small and tight at the base to large and loose at the top represent the copper mine and take up the majority of space in this piece. A smaller sketch of a circular tower can be seen off to the proper right side of the piece. The top of the piece is filled with charcoal gray and dark black lines, with an area of white and red in the top proper left corner.

10. Global Contemporary 1980 CE to present 247. Preying Mantra. Wangechi Mutu. 2006 C.E. Mixed Media on Mylar.

UMFA1970.027.001 Untitled #8 Joe Brainard: Paper cut-outs of long pale green blades of grass. A 'ribbon' of brown paper meanders through background. A few small purple and yellow flowers are scattered amidst the greenery. The paper cut-outs give a three-dimensional effect.

10. Global Contemporary 1980 CE to present 250.Kui Hua Zi (Sunflower Seeds) . Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelian.

UMFA1995.002.013 Boogie-Woogie With Apologies To Mondrian Ida R Kohlmeyer: Made up of individually and uniquely painted styrofoam packing "peanuts" glued in a symmetrically arranged grid pattern on a painted canvas background. Each piece has an individual character varied by color scheme, a small painted background, and the side of the "C" shaped peanut that is glued to the canvas. The canvas background is matte white with a light gray wide border painted around the perimeter of the grid. Mounted in a shallow acrylic box.

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