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  • Thumbnail for Art in Colorado Springs - Mary A. Bartow
    Art in Colorado Springs - Mary A. Bartow by Bartow, Mary A.

    Historic documentation of life at the turn of the 19th century created by residents of Colorado Springs, Colorado in 1901 for the citizens of 2001. Under the direction of Louis R. Ehrich, a prominent 19th century businessman, the items were sealed in a chest which was stored in various buildings on the Colorado College campus until the official opening January 1, 2001 at the Charles Leaming Tutt Library. Contents of Ms349, Fd 50, Art in Colorado Springs - Mary A. Bartow include: 1 b&w photo “Mary A. Bartow”; 1 2-page, typewritten list, “Partial List of Paintings Now in the Collection of Louis R. Ehrich,1700 North Cascade Avenue”; 1 26-page, handwritten letter, dated August 3, 1901, signed by Mary A. Bartow (Art in Colorado Springs); 1 6-page, handwritten letter, dated August 4, 1901, “addenda” to letter above, signed by Alfred Bartow; 1 copy of Colorado Springs Gazette article, “The Late Harvey B. Young, a Painter of Life in Mountain and Plain: His Legacy to the World of Art” by Mary A. Bartow.

  • Thumbnail for Bronze Censer and Jug with Gold and Silver Inlay
    Bronze Censer and Jug with Gold and Silver Inlay

    Bronze censer and jug featuring gold and silver inlays and reign mark of Xuande (reign 1426-35 AD), but copying earlier styles from the Chinese bronze age.

  • Thumbnail for Minamoto Yoritomo
    Minamoto Yoritomo

    One of the earliest extant examples of formal secular portraiture. The sitter is traditionally identified as Minamoto Yoritomo (1147-1199), the first shogun of Japan. After the death of the retired emperor Go-Shirakawa in 1192, Yoritomo received from the court the coveted title of Seiitaishogun (Great General Who Quells the Barbarians).

  • Thumbnail for Distant view of Mt. Asama from Urawa stationq
    Distant view of Mt. Asama from Urawa stationq by Eisen Keisai

    Keisai Eisen was born in Edo, the son of a calligraphy artist. He was apprenticed to Kikugawa Eizan and studied traditional painting before becoming a printmaker. Throughout his career, Eisen’s work was productive and varied. Book illustrations and prints were his first commissioned works. Early on, he achieved lasting fame for his bijin-ga (pictures of beautiful women), and both contributed to and edited the Ukiyo-e ruiko (History of Prints of the Floating World) one of the few surviving sources of information-rich material on printmaking art and artists in Japan. At times, he struck partnerships with other artists of his age, such as his collaboration with Hiroshige, which resulted in a series of landscape prints entitled The Sixty-nine Stations on the Kiso Highway. Eisen also released many surimono (privately issued prints), shunga (erotic prints), and some landscape pieces. In addition to his career as a printmaker, Eisen pursued other sources of income. A self-described hard-drinker who humbly titled his version of Japanese print history Mumeio zhuihitsu (Essays by a Nameless Old Man), Eisen was also the manager and proprietor of a brothel for a time. Today, however he is most famous for his portrayals of the beauties of old Japan. As a result of the success of Hiroshige’s “Fifty-three Stations of the Tokaido, publishers commissioned many artists to do series in similar veins. Eisen both collaborated with Hiroshige and executed his own series of images from the Kisokaido (Great Western Highway).

  • Thumbnail for Porcelain saucer dish - detail of side
    Porcelain saucer dish - detail of side

    This doucai enameled shallow dish is decorated on the interior with a central lappet roundel within double circle borders; the exterior depicts three cranes, emblematic of longevity amongst cloud scrolls and fungus. The base is inscribed with a Yongzheng (1723-1735) reign mark and is of the period, however the quality of the enameling and porcelain suggest that it was not intended for the Imperial household.

  • Thumbnail for Large porcelain dish - detail of design and glaze
    Large porcelain dish - detail of design and glaze

    The decoration on this blue and white charger was inspired by Islamic ceramics of the 16th and 17th centuries and influenced the decorative patterns used on 18th century Dutch Delft wares.

  • Thumbnail for The peak of Satta Pass near Yui station
    The peak of Satta Pass near Yui station by Utagawa Hiroshige

    From the first Tokaido series, Hoeido Tokaido edition. One of the most well known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe. In this image, near station number sixteen, Hiroshige shows travelers about to get a majestic view of Mt. Fuji. Long a traditional subject matter in Kano style painting, views of Mt. Fuji were charged with national pride and an important sense of place to the Japanese. The artist combines this ancient tradition with a far more popular and temporal sense of place.

  • Thumbnail for Two women with infant
    Two women with infant by Utamaro Kitagawa

    The dominant ukiyo-e artist of the late 18th century, Utamaro is as famous for his legendary life as for his unsurpassed images of courtesans and famous beauties of his day. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After an increasing number of censorship laws were passed to limit the production of prints of famous courtesans, thought to corrupt the morals of the citizens of Japan, many artists turned to domestic images of mothers and daughters or women with servants and generalized pictures of the latest fashions in order to satisfy the demand for bijin-ga and skirt the laws.

  • Thumbnail for Bronze censor - detail of side
    Bronze censor - detail of side

    This neatly fashioned rectangular box and openwork cover cleverly becomes a utilitarian incense burner, the pierced cover cast to allow incense to subtly drift upwards through a Buddhist inspired swastika decoration. The taotie handles and the geometric pattern on the ground areas add an archaistic element to the design. The base is inscribed with a dedicatory inscription. 41/8in. high, 6in. x 4 5/8 inches wide

  • Thumbnail for Woman wearing a fashionable kimono: The Chrysanthemum Festival
    Woman wearing a fashionable kimono: The Chrysanthemum Festival by Utagawa Kuniyoshi

    The son of a silk dyer, Utagawa Kuniyoshi was apprenticed to the printmaker Utagawa Toyokuni I. whose other pupils included Toyoshige and Kunisada. Unlike his master, who specialized in actor portraits, Kuniyoshi excelled in depicting historical scenes and events along with celebrated warriors. Like many of his contemporaries, the artist experimented widely, producing prints of everything from landscapes to erotica. Kuniyoshi’s first published work was a set of book illustrations released in 1814, although his name remained obscure for several years until his publication of a print series depicting 75 heroes from Japanese lore and legend. When prints of actors and beautiful women (bijin-ga) were banned by the Japanese government in 1842, the Japanese middle class became enthusiastic supporters of Kuniyoshi’s seemingly inoffensive historical prints. In 1843, the artist released a satirical triptych print criticizing the Shogun, launching an official investigation that resulted in the destruction of Kuniyoshi’s woodblocks and unsold prints, as well as an official censure. The print, however, remained popular with the middle class. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After restrictive censorship laws were passed in the 1840s, many artists turned to generalized pictures of the latest fashions and more domestic settings for their images of beauties.

  • Thumbnail for The actor Ichimura Uzaemon XIII as the scoundrel Benten-Kozo Kikunosuke
    The actor Ichimura Uzaemon XIII as the scoundrel Benten-Kozo Kikunosuke by Utagawa Yoshiiku

    A pupil of Kuniyoshi, who despite the innovations and new subject matters and styles brought on by the Meiji period continued to practice a fairly traditional style of ukiyo-e. Ukiyo-e artists were often commissioned to execute portraits of kabuki actors in some of their most famous and popular roles. These portraits served as advertisements of an upcoming performance and as souvenirs for fans of kabuki, who would often loudly shout and cheer when one of their favorite actors struck a particularly dramatic and expressive pose (mie). Like many professions in Japan, acting was often a family tradition, thus like some ukiyo-e artists, actors would take the name of their predecessor and simply add a number to mark their position in the line of succession. The scoundrel in this case is the lead in a popular Kabuki play of the Edo period written by Kawatake Mokuami (1816– 1893). The role demands a wide range for an actor who must transform from a young maiden into a rough criminal.

  • Thumbnail for Ferry boats on the Tenryu River at Mitsuke Station
    Ferry boats on the Tenryu River at Mitsuke Station by Utagawa Hiroshige

    From the Tsutakichi series. One of the most well-known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe.This image represents station number twenty-nine. Though often fordable by foot, during heavy rains the Tenryu river was deep and swift and many boatmen plied their trade ferrying travelers across the river.

  • Thumbnail for Tang Yin portrait, close-up of figure
    Tang Yin portrait, close-up of figure by Signed 'Tang Yin'

    Chinese vertical scroll painting, likely a forgery; colors on silk, brocade frame mounted on paper, flush roller with brocade ends; image area 20.4 cm x 55.8 cm; subject Chang Hsien the archer, patron of child-bearing; birth of male child announced by hanging bow at door or gate, calligraphy, five seals. The subject matter does not match the artist’s inscription. Tang Yin is very well known for his versatility, including calligraphy, figures, and landscapes. He was also known for his literary talents and free-spirited lifestyle. His artistic reputation is reflected in many writings, including novels and dramas in later eras and his love of women is depicted in the performing arts and popular culture. Tang Yin was known as a commercial painter who sold his works and took commissions. Many of the extant works that bear his signature are forgeries. The artist of this painting displays a unique manner in his brushwork, with angular and edgy outlines that reflect the influence of Zhou Chen (still alive in the 1530s), another famous painter of Tang Yin’s era. Tang Yin originally studied painting with Zhou Chen, however Zhou Chen occasionally ghost-painted for Tang Yin due to the huge demand for Tang’s paintings. Another possibility is that the inscription of this painting was done by Tang Yin and the figure was done by Zhou Chen.

  • Thumbnail for Lotus, full view
    Lotus, full view by Wu Shouxian

    Chinese hanging scroll with vertically-oriented painting; black ink and trace of red on paper; image area 31 cm x 132.4 cm; brocade frame, flush roller with brocade ends; lotus represents purity, perfection, summer, and the flower carried by Ho Hsien-Ku, the eighth of the eight immortals revered in Buddhist worship; calligraphy, one seal by the artist.

  • Thumbnail for The Fishing Boat, front close-up
    The Fishing Boat, front close-up by Kawanishi Hide

    The Fishing Boat is a landscape foregrounding the nets and frames for harvesting seaweed, as well as fishing boats, the setting is probably in or near his lifelong home of Kobe.

  • Thumbnail for Orchids and Rocks, full view
    Orchids and Rocks, full view by Wu Shouxian

    Chinese hanging scroll with vertically-oriented painting; black ink and tan on paper; image area 31 cm x 132.8 cm; brocade frame, flush roller with brocade ends; orchids adorn rock face; calligraphy, three seals.

  • Thumbnail for The Tenryu River near Mitsuke station
    The Tenryu River near Mitsuke station by Utagawa Hiroshige

    From the first Tokaido series, Hoeido Tokaido edition. One of the most well-known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe. This was near station number twenty-eight.

  • Thumbnail for The plum garden in Kameido
    The plum garden in Kameido by Utagawa Hiroshige

    From the One Hundred Famous Views of Edo series. One of the most well known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. Though probably most known for his numerous editions of images from the Tokaido, Hiroshige also produced a number of prints and editions of other well known landscape sites. Among them were Famous Places of the Eastern Capital, Famous Places in the Sixty-Odd Provinces, and Thirty-six Views of Mt. Fuji, among others. These few were a modern interpretation of a much earlier tradition in which Chinese artists and poets would paint and write about important locales. As in his Tokaido prints, however Hiroshige imbued these modern views with a sense of a specific contemporary time and place often employing a more western perspective and showing modern day viewers inhabiting the scene.

  • Thumbnail for Uki-e: The interior of the Ichimura-za Theater, Edo
    Uki-e: The interior of the Ichimura-za Theater, Edo by Utagawa Toyoharu

    Utagawa Toyharu was the founder of the Utagawa school of ukiyo-e painting and printmaking. He was born in Kyoto and studied Kano school painting under Tsuruzawa Tangei. Upon moving to Edo in the 1760s he studied with Shigenaga and Sekien and began releasing his own work shortly thereafter. In 1763 he became a printmaker in the ukiyo-e tradition. After establishing himself as a foremost master of printmaking, Toyoharu began to take pupils, among them Toyohiro and Toyokuni, who assumed Toyoharu’s title after his death. Toyoharu’s output was diverse. He is probably best-known for creating the innovative uki-e or perspective print, which was a melding of Japanese and Western art tastes for composition and design. He created several landscape print series in the uki-e manner but he also worked within traditional subject matters and designs. The perspective print illustrates the influence of western images as they made there way into Japan. While contrary to traditional Japanese depictions of space, perspective was particularly appropriate to depictions of the floating world. Attending the Japanese theater, particularly Kabuki, was a popular pastime in the theater quarters of Edo and other large cities. Many plays depicted well-known historical and literary events from Japan’s past, while others featured narratives of a particularly modern bent. The uki-e print was able to capture the bustle and din of the Kabuki theater and the pleasure quarters in which they were located.

  • Thumbnail for Bronze censor - open
    Bronze censor - open

    This neatly fashioned rectangular box and openwork cover cleverly becomes a utilitarian incense burner, the pierced cover cast to allow incense to subtly drift upwards through a Buddhist inspired swastika decoration. The taotie handles and the geometric pattern on the ground areas add an archaistic element to the design. The base is inscribed with a dedicatory inscription. 41/8in. high, 6in. x 4 5/8 inches wide

  • Thumbnail for Piece-Mold Bronze Casting Diagram
    Piece-Mold Bronze Casting Diagram

    Diagram showing the various components necessary for casting in the piece-mold process utilized in the Shang era [1500-1050 BCE].

  • Thumbnail for Shallow porcelain saucer dish - detail of side
    Shallow porcelain saucer dish - detail of side

    This doucai enameled dish is decorated with maidens in a terrace garden scene within a border of pine, prunus and bamboo, the “three friends of winterâ€. These plants are emblematic of longevity, as each hearty growth survives the cold, harsh winter months. The dish is inscribed on the base with an apocryphal Ming Dynasty Zhenghua (1465-1487) reign mark, but the decoration, enamel technique and subject matter are clearly 18th century.

  • Thumbnail for Autumn Leaves and Chrysanthemums, characters
    Autumn Leaves and Chrysanthemums, characters by Jin Dui

    Horizontal Chinese painting; ink and colors on paper; 34.2 cm x 27.3 cm; white chrysanthemums, symbol of 9th month, autumn and fruit blossoms; calligraphy and one seal by artist.

  • Thumbnail for Xu Diao, Ferret and Mellon, view of roller
    Xu Diao, Ferret and Mellon, view of roller by Zhao, Zhiqian

    Chinese hanging scroll with vertically-oriented painting depicting a ferret or porcupine nibbling a melon. The image area is 40 cm x 108 cm and was made with black and grey ink on silk and mounted with a brocade frame on a paper mount with teak roller. Zhao, well-known for his calligraphy and seal carving, is one of the most important Qing painters. His style synthesized the styles of Xu Wei ((1521-1593), shi Tao (or Dao Ji, among the “Four Monks of the Ming†1630 – unknown), and Li Shan (1686-unknown). This painting reflects one of Zhao’s later interests in zoology and marine creatures, in addition to his whimsical commentary on the ferret chewing the melon.

  • Thumbnail for Bronze rice measure - side view
    Bronze rice measure - side view

    This rectangular tapering vessel is an example of the everyday, utilitarian objects that were fashioned in mold cast bronze in the 18th century. The decoration, which incorporates neatly finished human figures in genre scenes along with typical decorative border embellishments, no doubt was fashioned for use in an important household, rather than for use in a less grand setting. 3 3/4in. high, 5 1/2in wide.