Artifice Collection

Artifice

A portrait photographers studio, 1896-98 (silver gelatin print)
MNY380818 A portrait photographers studio, 1896-98 (silver gelatin print) by Byron Company (fl.1890-1942); 20.3x25.4 cm; Museum of the City of New York

Artifice Collection: Sacred Hour, 1910 (oil on canvas)

Sacred Hour, 1910 (oil on canvas)
3959969 Sacred Hour, 1910 (oil on canvas) by Hodler, Ferdinand (1853-1918); 179.5 x 89.4 cm; Kunstmuseum, Basel, Switzerland; Swiss, out of copyright

Artifice Collection: At the Waterfall, c. 1850 (w / c, gum arabic, and gouache on off-white wove paper)

At the Waterfall, c. 1850 (w / c, gum arabic, and gouache on off-white wove paper)
3614144 At the Waterfall, c.1850 (w/c, gum arabic, and gouache on off-white wove paper) by Johnston, David Claypoole (1799-1865); 21.9x32.4 cm; Metropolitan Museum of Art, New York, USA; American

Artifice Collection: Two Standing Male Figures 1501-47 Pen dark brown ink

Two Standing Male Figures 1501-47 Pen dark brown ink
Artokoloro

Artifice Collection: Landscape with buildings, 1648-51 (oil on canvas)

Landscape with buildings, 1648-51 (oil on canvas)
XIR498141 Landscape with buildings, 1648-51 (oil on canvas) by Poussin, Nicolas (1594-1665); 120x187 cm; Prado, Madrid, Spain; (add.info)

FIREWORKS 1747 - 4
A Feu d Artifice in 18th century France Date: 1747

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Artifice: A Journey Through Time and Mediums From the intricate pen and ink lines of Alexander Pope's "The Toilet" in "The Rape of the Lock" to the carefully posed subjects in a 1896-98 portrait studio photograph, it has long held a fascination for artists. The meticulous detail in these works, whether in the form of gum arabic, gouache, oil, or ink, reveals the skillful hands of those who create illusions. Consider "Sacred Hour," a 1910 oil on canvas painting that transports us to a serene moment in time. Or the 1850 watercolor "At the Waterfall," where the artist masterfully captures the power and beauty of nature. Yet, artifice is not always about deception or illusion. In "Page from The British Working Man or One Who Does Not Believe In Him," an engraving that offers a stark commentary on society, the art lies in the message conveyed through the medium. Similarly, the 1501-47 pen and ink drawing "Two Standing Male Figures" and the 1648-51 oil on canvas "Landscape with Buildings" showcase the artist's ability to manipulate their chosen medium to create a visual language that resonates with viewers. And finally, the explosive bursts of color in the 1747-4 fireworks painting remind us that they are also be about celebration and joy. Through these diverse works, we witness the power to transport us, challenge us, and inspire us.