Active primarily as a painter in Edo (present-day Tokyo) during the early decades of the nineteenth century, Kitagawa Fujimaro favored scenes featuring two or three figures in outdoor settings.
This new accession by artist Santiago Cucullu has a title as colorful as the image itself: Tatted Up Redhead Holding the Head of My Enemy at the Barricade Down the Street.
In her compelling and unsettling collages, Deborah Roberts explores the ways in which society’s idealized and discriminatory conceptions of beauty shape “African American” identity.
Manon Cleary is remembered for her prolific output of painstakingly photo-realistic paintings and drawings addressing themes of the human body and sexuality, including her own.
This print, Juchitecas Platicando (Juchitecán Women Talking), depicts three statuesque women from the city of Juchiteca in the state of Oaxaca in southeastern Mexico.
Although he was born in Seattle as a third-generation American, Roger Shimomura spent two years of his childhood in an internment camp for Japanese Americans in Idaho during World War II.
Throughout his career, Dubuffet’s work changed dramatically from period to period, as he experimented with atypical materials and techniques.
Here we're highlighting two works by UW–Madison alumnus John Hughes who earned an MFA at UW–Madison in 1992.
Today we're featuring Two Men (Study for The Funding Bill), a preliminary study for a much larger painting entitled The Funding Bill—Portrait of Two Men that artist Eastman Johnson completed in 1881.
Dogo the Kidnapper is an early work by Twins Seven-Seven, the father of Yorùbá modernism.