This depiction of Saint Jerome, hailing from the Flemish city and trade center of Antwerp, shows him as both a scholar and a penitent. The exaggerated angle of his head, the gesture of his open hand, the thin application of paint, and the nervous contours all belong to the Master of the Lille Adoration’s signature style.
Both McMillian’s photograph and the subject of the photograph—a plaster cast—are infinitely reproducible, implying a repetition of form based on tradition. The artist's combination of the cast and the photograph highlights the similar perpetuation of the cultural status quo in America, a question McMillian brings to light often in his body of work.
The densely-textured surface of Bradford’s work here is made of found materials from the artist’s home neighborhood in Los Angeles, sanded down and re-layered. The shape and striation recall a wave, with the title referencing the Sirens of Greek mythology, bringing together an allure and an urgency to the mixed-media work.
McMillian’s lungs combines painting and sculpture, organic and inorganic form, and enormity and delicacy to create these lush yet ominous objects. The inherent juxtaposition of the work manifests current political and social tensions through their insistent physicality.
An enigmatic amalgam of Abstract Expressionist style and viscerally rendered poetry, Finnish Painting acknowledges a struggle in understanding and interpreting other people. The last word of the poem, and one of the few legible words, is “decode,” mirroring the viewer’s experience trying to decode the work itself.
Ganku’s last known images of the dragon and the tiger, this pair of screens depicts the earth- and sky-based subjects to highlight their nature as opposites, according to Taoist beliefs. Black ink brings the creatures to life over a smooth gold surface, showcasing Ganku’s eccentric and energetic style.
This sculpture represents the 13th petal from Yoko Ono’s installation SKYLANDING, a 12-petal lotus in Chicago’s Jackson Park that rises from the ashes of the Phoenix Pavilion. In contrast to the smooth petals of SKYLANDING, MENDED PETAL has visible seams of repair, symbolically commemorating the ground-healing ceremony held by the artist in June 2015 through which she prepared the site of the lost Phoenix Pavilion for her new work.
The Greek people’s worship of the Olympian deities included the ritual dedication of gifts (votives) at sacred sites. These offerings took a variety of forms, but statuettes of horses had special significance as symbols of affluence. This bronze sculpture is one of the finest such votive statuettes to survive from antiquity.
Sebastiano’s depiction of Christ carrying the cross has dramatic visual impact in the expressions of the figures, in the diagonals lines created by the cross, and the luminous background. This work is a significant addition to the museum’s
holdings of central Italian paintings.
The five vessels in this set would have been the focus of either Buddhist or Confucian spiritual ceremonies. Each vessel is painted with the Eight Buddhist Emblems over a lime green background—a color perhaps inspired by enameled metalwork introduced
to China from Europe.
Yellow and underglaze-blue dishes of this type are among the most treasured Ming dynasty porcelains in China; they are particularly rare, making this example, covered in traditional motifs, an exquisite acquisition for the Art Institute.
Gorham was the first major American silver company to introduce Japanese-inspired designs to their product line, with this particular vessel featuring interpretations of Asian motifs, likely drawn from print sources: giant carp and a turtle thrash in
violent waters, suggesting the movement of the sea.