Saturday, June 23, 2007

Currier & Ives Fruit Bowl Still Life

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2665], Currier & Ives Fruit Bowl Still LifeTITLE: An inviting dish CALL NUMBER: PGA - Currier & Ives--Inviting dish (A size) [P&P] REPRODUCTION NUMBER: LC-USZC2-2665 (color film copy slide), No known restrictions on publication.
Digital ID: cph 3b50539 Source: color film copy slide Reproduction Number: LC-USZC2-2665 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (52k)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1870. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3365, FORMAT: Lithographs 1870.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (color film copy slide) cph 3b50539,, CARD #: 2002699727

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2665]

MARC Record Line 540 - No known restrictions on publication.

Still life From Wikipedia, the free encyclopedia

A still life is a work of art depicting inanimate subject matter, typically commonplace objects which may be either natural (food, plants and natural substances like rocks) or man-made (drinking glasses, cigarettes, pipes, hotdogs and so on). Popular in Western art since the 17th century, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture.

Still life paintings often adorn the walls of ancient Egyptian tombs. It was believed that the foodstuffs and other items depicted there would, in the afterlife, become real and available for use by the deceased. Similar paintings, more simply decorative in intent, have also been found in the Roman frescoes unearthed at Pompeii and Herculaneum. The popular appreciation of still life painting as a demonstration of the artist's skill is related in the ancient Greek legend of Zeuxis and Parrhasius.

Through the Middle Ages and the Renaissance, still life in Western art was mainly used as an adjunct to Christian religious subjects. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and disguised symbolism led them to lavish great attention on the meanings of various props and settings within their paintings' overall message. Painters such as Jan van Eyck often used still life elements as part of an iconographic program.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Still life

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